FROM   THE  LIBRARY  OF 
REV.   LOUIS    FITZGERALD    BENSON,  D.  D 

BEQUEATHED    BY    HIM   TO 

THE   LIBRARY  OF 

PRINCETON  THEOLOGICAL  SEMINARY 


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■o,., 


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THE 


HISTORY 


FORTY    CHOIRS 


BY    THOMAS    HASTINGS, 

AUTHOR    OF    "  DISSERTATION    ON    MUSICAL    TASTK,"    AND    VARIWUS 
MUSICAL    AND    MISCELLANEOUS    PUBLICATIONS. 


M  History  is  Philosophy  tcachiug  by  example." 


NEW    YORK: 

MASON  BROTHERS,  23  PARK  ROW. 

1851. 


Entered,  according  to  Act  of  Congress,  in  the  year  1853,  by 
MASON    BROTHERS, 
In  the  Clerk's  Office  of  the  District  Court  for  the  Southern  District 
of  New  York. 


STJCHBOXXi'fc.O      BY  1  HIVXET)     B"¥ 

THOMAS    B.    SMITH,  JOHN    A.   GRAY. 

216  William  Street,  N.  Y.  97  Cliff  St.  N.  Y. 


r  t  i  a  1 1 . 


The  incidents  embraced  in  the  following  sketches  are 
substantially  true :  though  varied  in  detail.  The  lead- 
ing object  has  been  to  afford  useful  instruction,  in  such 
manner  as  to  avoid  unpleasant  personalities.  While  no 
individual  will  here  recognize  his  own  likeness,  multi- 
tudes, it  is  supposed,  may  discover  characteristic  fea- 
tures, which  are  not  unworthy  of  their  contemplation. 


Digitized  by  the  Internet  Archive 

in  2012  with  funding  from 

Princeton  Theological  Seminary  Library 


http://archive.org/details/historOOhast 


CONTENTS 


i. 

A    MECHANICAL    TEACIIER. 

PAOK 

Good  moral  principles— Sociar  gatherings— Elementary  drilling— Social  Feelings  for 
Social  Music— Taste  and  Piety  neglected— Music  dull  and  unimpressive 11 

II. 

THE  NEW  ORGAN  AND  THE  BRASS-BAND  TEACHER. 

An  Organ  procured  for  wrong  purposes— Miserably  played  for  years — A  better  player 
and  a  brass-band  vocalist — Better  counsels  succeed 1G 

III. 

A    PASTOR    WITHOUT    MUSICAL    TASTE. 

Bible  instructions  not  investigated— Injuries  resulting— A  wicked  chorister  tolerated    21 

IV. 

A  TALENTED  GOOD  MAN,  BUT  A  NERVOUS  TEACHER. 

Singers  troubled  with  wandering  thoughts — Bad  philosophy  in  teaching — Wrong 
emotions  habitually  cherished  in  connection  with  right  convictions  of  responsi- 
bility      24 

V. 
CnOIR-SINGING    MADE    RESPECTABLE. 

Rev.  Mr.  R 's  excellent  management — His  argument  with  Miss  M .—A  noble 

example  of  a  volunteer  choir — The  pastor's  attentions  remitted — Danger  arises — It 
is  successfully  met— Defeat  of  Messrs.  Superficial  and  Flourish — Difficulties  readily- 
obviated  CO 

VI. 
MERE    SKILL   UNSUCCESSFUL. 

Complaint  of  the  indifference  of  pastor  and  people  to  the  performances  of  the  choir 
—The  singers  are  not  worshippers— The  pastor  unconsciously  flatters  their  self- 
esteem — Wrong  ideas  of  musical  efficiency 40 


VI  CONTENTS. 

VII. 

WANT   OF   CO-OPERATION. 

PAOK 

Wrong  notions  of  music — Timid  policy — Ungodliness  of  the  singers — Another  chor- 
ister fails  to  effect  a  salutary  reform,  merely  because  he  is  not  sustained  by  the 
church  or  the  pastor 46 

VIII. 

CULTURE   AND    COMMON    SENSE. 

A  good  pastor  procures  a  teacher  who  is  conscientious  and  willing  to  be  directed — 
Inculcates  Scriptural  views  irrespective  of  artistic  pretensions — Worship  in  the 
school,  &.C.— Good  results 55 

IX. 

A  CHOIR  REBUKED,  OFFENDED  AND  RECLAIMED. 

The  pastor  has  no  taste  for  music — Singers  left  to  their  own  direction — Grow  inde- 

Eendent,  and  exacting,  and  ungodly — They  are  publicly  rebuked  and  offended, 
ut  finally  reclaimed — Difficulties  might  have  been  prevented 61 


OUT   OF   TUNE. 

A  new  church  edifice— The  choir  perpetually  out  of  tune  for  years— An  easy  remedy 
applied— Success 


XI. 

UNACCEPTABLE   IMPROVEMENTS. 

Deacon  Aimwell— Old-fashioned  style— New  music  produces  dissatisfaction— Several 
changes — Constant  uneasiness — Taste  of  the  people  should  have  been  consulted. .     71 

XII. 

A    BOISTEROUS    LEADER. 

More  appetite  than  taste— Little  progess  of  improvement— Personal  influence  has  a 
deadening  effect  upon  the  music 77 

XIII. 

BAD    LOCATION. 

Want  of  room— Disadvantages  of  location— The  choir  necessarily  small,  well-disci- 
plined, well-disposed,  but  overwhelmed  by  the  untutored  voices  of  the  assembly.     81 


CONTENTS.  Vll 

XIV. 

INFLUENCES    EIGHT,    BUT   NOT   PERPETUATED. 

TAUE 

Rude  congregational  style  happily  improved  by  the  good  management  of  a  pastor — 
He  dies,  and  is  succeeded  by  one  who  leaves  the  interrst  in  charge  of  an  ambi- 
tious artist F3 

XV. 
A    FICKLE    PEOPLE. 

Wish  to  avoid  trouble— Parsimony— Impatient  of  results— Perpetual  changes  to  no 
good  purpose b9 

XVI. 

AX    ORGANIST    A    WOULD-BE    LEADER. 

An  excellent  choir— Good  influences  for  years— An  organ— A  whimsica',  ambitious 
player  make9  trouble— Assumes  the  direction— The  choir  leave,  and  everything 
is  unstable 92 

XVII. 

BACKWARD   AND   FORWARD. 

fpeed  without  progress — Changes  as  to  tune9  and  teachers— Ultimate  onward  pro- 
gress      98 

XVIII. 

AN    INSTRUCTIVE    EXAMPLE    FOR    CITY    CHURCHES. 

An  old  church  destroyed  by  the  rush  of  commerce— Good  devotional  music— How 
obtained— Its  happy  experiments  and  results— Its  example  not  lost 104 

XIX. 

SABBATn    CONCERTS. 

A  discussion  between  two  teachers— An  artistic  choir— Strong  Influences  of  lite  mu- 
sic—Sentimentalism— Discovery  of  this  evil— Reform 109 

XX. 

RIVAL    LEADERS    RECONCILED. 

Two  rival  leaders — Good  men  and  beloved — The  difficulty  was  merely  a  matter  of 
taste— Condescension  in  one  of  the  parties — A  happy  reconciliation— Progress  of 
taste  and  spirituality 116 

XXI. 

TASTE    IMPROVES    BUT    SLOWLY. 

An  excellent  choir,  prosper  for  years— Never  duly  consulted  the  taste  of  the  people— 
A  reaction— Long-continued  deterioration— Ta9te  at  length  begins  at  the  founda- 
tion, and  builds  upward  successfully 122 


V1U  CONTEXTS. 

XXII. 

NECESSITY  OF  GOOD  LEADERS. 

PAGE 

A  good,  faithful  choir  afflicted  by  a  succession  of  incompetent,  eccentric  leaders— A 
remedy  at  hand 130 

XXIII. 

A    CHOIR    CONVERTED. 

The  pastor  loves  art— The  choir  sing  tastefully,  and  indulge  in  pleasing  sentimental- 
ity—Too much  self-esteem— Another  pastor  discovers  this  evil,  and  sees  the  re- 
ward of  his  faithf id  dealing 137 

XXIY. 

A    LEADER    GETTING   BEHIND    TIIE   AGE. 

Singing  made  respectable  in  consequence  of  a  pastor's  appeal— The  teacher  becomes 
a  happy,  successful  leader  for  many  years— But  at  length  loses  his  influence  by 
yielding  too  little  in  the  new  circumstances  in  which  he  is  placed— He  resigns— 
Difficulties  arise  for  years — He  is  recalled,  but  declines  the  appointment — Ulti- 
mately a  pious  organist  assumes  the  direction  with  new  success — The  people  learn 
the  necessity  of  lending  their  co-operation 143 

XXV. 

A    PEEP   BEHIND    THE    CURTAIN. 

A  rude  choir  of  ungodly  singers— Election  returns  mingle  with  responses  in  prayer— 
A  complaint— A  reprimand— Nothing  more 150 

XXVI. 
OLD   FOLKS   YS.    YOUNG. 

Patent  Notes — General  ignorance  of  Notation — Old  and  young  members  of  the  choir 
at  strife :  the  one  against  innovations,  the  other  in  favor  of  progress— Rival  schools 
— A  friendly  adviser— He  fails  to  produce  an  adjustment — The  meeting  for  the 
purpose  grows  clamorous— He  makes  a  tender,  solemn  appeal,  and  retires—This 
proves  effectual 153 

XXVII. 


DIFFICULTIES    IN    A    CITY    CHOIR. 


Unfavorable  circumstances  of  a  general  nature— Various  methods  which  are  unsuc- 
cessful—Several scenes  in  illustration— A  happy  permanent  change— How  effected  160 

XXVIII. 

A    TALENTED,    BUT    IMMORAL    CHORISTER. 

l*  Punching"  music— The  violin— Falling  from  the  pitch— A  talented  leader  becomes 
vicious  and  hypocritical— Makes  trouble — Finally  lcavos  In  disgrace 169 


CONTEXTS.  IX 

XXIX. 

FUN    AT    SINGING    SCHOOLS. 

MM 
"Foreign  composers"  discarded — Singular  publications — Singing  achoola  for  amuse- 
ment— Merriment,  with  little  progress— Ultimate  reform 174 

XXX. 

OLD    TUXES    VS.    NEW. 

Complaints  against  new  tunes— A  discussion— Pastoral  reproof— A  committee  to 
consult  with  the  leader— Wise  and  kind  treatment— The  second  interview  termi- 
nates all  difficulty 181 

XXXI. 

MAL- ADAPTATIONS. 

Secular  songs  to  sacred  words— The  device  displeases— Ultimate  disgust— Popular 
melodies  without  secular  associations — Their  great  success 191 

XXXII. 

DESPISING    CULTIVATION. 

A  clergyman,  physician,  and  lawyer,  entertain  illiberal  prejudices — Their  example  of 
neglect  is  followed — Protracted  ill  consequences 196 

XXXIII. 


A    THEATRICAL    SOPRANO    SINGER. 

Splendid  church  edifice — Pecuniary  liabilities — An  unpopular  pastor — A  popular 
choir — A  distinguished  soprano  excites  attention — House  crowded— Pews  sold — 
Singing  declines— Another  pas.or  with  popular  attractions— Music  neglected— 
Reasons 200 


XXXIV  &  XXXV. 

RIVALRY    BETWEEN    TWO    CHORISTERS. 

Causes  of  rivalry— Promote  industry  and  artistic  success,  but  hinder  the  progress  of 
real  taste— Lead  to  barrenness  in  spirituality — The  evil  discovered  and  prevented 
by  a  cultivation  of  brotherly  love — Union  rehearsals — Pleasing  results 206 

XXXVI. 

A    DEACON    AFRAID    OF    THE    EXHIBITION    OF    TRUTH. 

The  pa9tor  holds  an  argument  with  his  deacon  on  the  claims  of  church  music — He 
will  preach  on  the  subject— The  deacon  thinks  it  unadvisable — The  pastor  re- 
deems his  pledge — Satisfactory  results 209 


X  CONTENTS. 

XXXVII. 

TACT   AT   CONCEALING   BLUNDERS. 

FADE 

Blunders  in  singing  need  not  always  be  exposed— Anecdotes  in  illustration — Chor- 
isters should  be  supplied  with  a  list  of  hymns  by  the  clergyman  on  all  occasions 
of  public  worship 215 

XXXVIII. 

•  "bought  OFF." 

Industrious  training — A  fine  volunteer  choir — Singers  bought  off  to  supply  deficien- 
cies in  other  choirs— Singing  declines— The  chorister  complains  that  all  his  pupils 
are  mercenary — He  resigns  the  situation 218 

XXXIX. 

THE    MISTAKE    OF    AN    EXCELLENT    LEADER. 

Gratuitous  training  and  direction  of  a  choir — LTnbounded  influence  of  the  leader — 
The  people  gain  none  of  his  practical  wisdom — After  ill  health  has  disabled  him, 
he  discovers  the  sad  influences  of  this  omission 222 


XL. 


A    BRIGHT    EXAMPLE. 


Examples  of  success  afford  less  incident  than  those  of  an  opposite  nature — It  must 
not  be  inferred  that  such  examples  have  been  few— Many  similar  to  the  one  here 
described— A  pastor  with  a  small  amount  of  musical  knowledge,  taking  the  Bible 
for  his  guide,  easily  secures  right  influences 225 


CONCLUSION. 
Considerations  suggested  by  the  preceding  sketches 229 


A  MECHANICAL  TEACHER. 

"  That  shunning  faults  one  quiet  tenor  keep, 
We  cannot  blame  indeed,  but  we  may  sleep."— Popk. 

The  large  choir  of  the  old  Church  in  the  flourishing  town  of 
A ,  embraced  a  few  individuals  who  were  guided  by  re- 
ligious considerations.  The  performances  were  above  medi- 
ocrity in  point  of  skill,  but  they  were  deficient  in  animation 
and  spirituality.  The  rhythm,  the  harmony,  and  the  melody, 
gave  evidence  of  much  practice,  and  the  selection  of  tunes  was 
seldom  offensive  to  good  taste.  Still  the  music  was  wanting  in 
character.  It  was  dull.  It  moved  heavily.  It  was  destitute 
of  variety,  and  deficient  in  pathos  and  solemnity.  It  exerted 
in  time  of  worship  but  little  influence  either,  upon  the  singers 
or  upon  the  congregation. 

The  causes  of  this  failure  may  be  easily  explained.  The 
choir  in  earlier  years  had  several  teachers  that  knew  but  little, 
and  charged  but  little  for  their  services.  Subsequently  they 
were  trained  from  time  to  time  by  a  teacher  who,  though  su- 
perior in  some  respects  to  his  predecessors,  was  a  rude  mechan- 
ist in  art.  He  was  a  real  plodder,  a  mere  journeyman  in  sol- 
misation. 

"When  his  pupils  had  learned  to  read  plain  music,  and  to  sing 
it  with  tolerable  accuracy,  his  task  was  accomplished.  He 
could  pretend  to  nothing  more.     This  teacher,  however,  had 


12  A  MECHANICAL  TEACHER. 

been  recommended  to  the  choir  as  a  man  of  skill.  His  charges 
were  reasonable,  and  his  morals  correct.  Those  'who  had  more 
taste  would  demand  a  greater  compensation  for  their  labors. 
Schools  were  designed  for  novices  in  music.  Great  refinement 
was  not  necessary,  and  singers  might  u  acquire  taste  without  so 
much  teaching."  Such  was  the  reasoning  employed  on  the  sub- 
ject ;  but  the  secret  was,  the  singers  had  a  greater  love  for  the 
social  pleasures  of  a  school,  than  for  sound  improvement.  The 
teacher  was  a  companionable  man,  and  not  very  exacting  in 
his  requirements.  Consequently  he  was  just  the  person  for  them, 

The  schools  were  virtually  social  gatherings.  They  brought 
together  under  pleasant  circumstances,  the  young  people  of 
the  village.  The  latter  would  listen  politely  to  what  he  thought 
fit  to  say,  and  give  for  the  moment,  some  attention  to  the 
practical  exercises,  but  the  details  were  not  treasured  in  me- 
mory. They  were  treated  like  formalities,  which  might  well 
be  forgotten.  In  the  midst  of  every  evening  there  would  be  a 
recess  for  free  and  lively  conversation,  such  as  might  be  wit- 
nessed at  a  social  party.  There  was  no  absolute  rudeness  on 
these  occasions.  But  amusing  incidents  would  occur,  and  feats 
of  comicality  be  performed,  all  tending  to  promote  merriment 
and  hilarity. 

Had  these  gatherings  been  designed  for  the  practice  of  social 
music,  they  would  have  been  in  character ;  for  how  are  we  to 
cultivate  the  secular  style  without  the  indulgence  of  correspond- 
ing sentimentalities  ?  The  man  who  would  practice  a  martial 
song  must  carry  his  thoughts  into  the  tented  field,  and  the  man 
who  would  sing  a  M  merry  ballad  or  catch,"  must  enter  fully 
into  the  mirth  of  what  he  is  practising.  This  is  right.  It  is  in 
accordance  with  the  teachings  of  art.  But  to  indulge  such 
thoughts  and  feelings  in  connection  with  music  intended  for  the 
purposes  of  religious  worship,  would  be  incongruous  and  in- 


A   MECHANICAL   TEACHER  13 

appropriate.  It  would  be  as  contrary  to  the  demands  of  art, 
as  to  the  interests  of  religion.  The  choir  never  thought  of  this 
distinction,  but  they  lost  much  through  the  habitual  violation 
of  it.  The  tunes  which  had  been  practiced  under  such  circum- 
stances, were  far  from  awakening  hallowed  associations.  Those 
of  the  choir  who  did  not  claim  to  be  worshippers,  felt  at  church 
a  loss  of  interest  which  they  could  not  understand.  To  them 
the  scene  was  so  unlike  that  of  the  practice-room,  as  to  give 
impressions  of  melancholy.  The  rest  of  the  singers  had  to  con- 
tend with  thoughts  and  feelings  of  worldliness,  which  the  music 
by  the  power  of  association  was  perpetually  bringing  to  mind. 
So  long,  so  habitually,  and  so  intimately  had  scenes  of  pleas- 
antry and  merriment  been  connected  with  the  practice  of  that 
music  in  schools  and  rehearsals,  that  no  effort  of  the  mind  could 
wholly  dissociate  them  in  the  time  of  worship.  The  trouble 
on  such  occasions  was  naturally  referred  to  a  special  attack  of 
the  adversary  of  souls.  But  that  evil  personage  had  previously 
accomplished  his  work  in  the  practice-room,  and  might  now 
have  been  attending  to  other  matters.  Temptation,  so  to  speak, 
had  been  wrought  into  the  music  itself.  It  had  become  a  spe- 
cies of  mechanism  which  would  work  without  his  special  bidding. 
The  cause  here  assigned  might  alone  suffice  to  account  for 
the  failure  of  the  music.  But  there  was  another  which  was 
equally  efficient.  All  the  training  for  a  course  of  years,  we 
have  seen  was  elementary.  If  taste  is  to  be  cultivated,  the 
mind  must  be  allowed  occasionally  to  dwell  on  aesthetic  consid- 
erations, and  give  itself  up  to  emotional  influences.  This  con- 
dition is  indispensable.  But  it  was  unknown  and  disregarded  ; 
hence  the  uninterrupted  process  of  drilling  formed  literally  a 
systematic  hinderance  to  the  progress  of  taste.  Necessary  as 
drilling  is  in  its  proper  place,  it  can  do  no  more  towards  secur- 
ing musical  expression,  than  chattering  over  the  declensions 


14  A   MECHANICAL   TEACHER. 

and  conjugations  of  syntax  can  towards  perfecting  a  taste  for 
belles  lettres. 

A  similar  remark  may  also  be  made  in  reference  to  the  spirit 
of  praise.  This  spirit  can  never  be  acquired  by  an  exclusive 
attention  to  artistic  observances.  These  are  not  without  their 
importance.  The  man  who  would  become  a  good  timeist  must 
be  tasked  with  rhythmical  exercises.  He  who  would  improve 
his  voice,  must  be  thoroughly  trained  in  tone  and  intonation ; 
and  he  who  would  learn  to  read  music  with  fluency,  must  occupy 
his  mind  with  scales  and  intervals,  and  the  entire  catalogue  of 
musical  characters.  If  all  this  is  to  be  done  thoroughly,  the 
mind  must  for  a  time  be  abstracted  from  other  considerations. 
But  if  the  pupils  are  faithful,  the  ends  of  drilling  will  soon  in 
a  measure  be  accomplished.  Reading  and  the  rules  of  style 
will  become  familiar.  The  mind  can  then  be  liberated.  It 
can  be  set  free,  at  least  occasionally,  from  the  entanglements 
of  manner,  and  be  allowed  to  indulge  in  religious  reflections. 
This  is  indispensable. 

But  the  members  of  the  choir,  as  we  have  seen,  were  not 
studious.  They  cherished  no  adequate  feelings  of  responsibil- 
ity. Their  object  was  amusement.  The  lessons  were  evils,  to 
be  tolerated  and  forgotten.  Reading  continued  to  be  a  difficult 
exercise,  and  the  plainest  rudiments  of  style  were  seldom  fully 
mastered.  Elementary  exercises,  therefore,  were  perpetuated. 
There  was  no  progress  from  year  to  year.  The  drillings  were 
as  monotonous  and  as  constant  as  the  operations  of  a  tread-mill, 
and  about  as  interesting.  Still  they  claimed  sufficient  attention 
to  embarrass  and  pre-occupy  the  mind.  Devotion  requires  its 
votaries  to  fix  their  thoughts  intently  upon  spiritual  objects. 
The  teacher  exerted  himself  from  year  to  year  to  confine  the 
mind  to  musical  rules.  His  entire  efforts  were  in  this  direction. 
No  other  training  was  familiar  to  him,  and  he  knew  the  neces- 


A   MECHANICAL   TEACHER.  lo 

sity  of  no  other.  No  wonder,  therefore,  that  in  connection  with 
great  dulness  of  manner,  there  should  have  been  such  a  decided 
and  such  a  constant  want  of  emotional  efficiency. 

The  adverse  influences  were  not  confined  to  the  choir.  The 
music  excited  but  little  attention.  The  hymns  were  not  dis- 
tinctly uttered.  The  hymn-books  would  lie  unopened,  or  be 
regarded  in  a  listless  manner.  The  people  did  not  understand 
their  duty.  They  were  not  well  informed  as  to  the  nature  of 
praise.  They  had  formed  their  estimate  of  its  utility,  not  by 
searching  the  Scriptures,  but  by  taking  counsel  of  the' traditions 
of  men,  in  connection  with  their  own  defective  experience.  The 
music  was  said  to  be  good.  But  there  was  little  in  the  perform- 
ances which  could  please  the  taste  or  kindle  the  feelings  of  de- 
votion. There  were  no  strifes  or  divisions  among  the  singers. 
They  plodded  on  in  their  dulness  from  year  to  year,  with  un- 
disturbed unanimity.  There  was  no  ambition  to  excel.  They 
were  seldom  severely  tasked.  They  had  sufficient  accommoda- 
tions in  the  choir  for  all  who  might  join  them. 

What  could  the  tempter  have  gained  by  exciting  disturbances 
in  such  a  choir  ?  Dull,  uninteresting,  formal  offerings  of  praise 
might  be  more  to  his  purpose  than  excitements,  which  would 
awaken  discussion.  But  should  a  truly  consecrated  spirit  begin 
to  show  itself,  there  would  soon  be  trouble.  The  adversary 
would  bestir  himself.  The  confirmed  influence  of  wrong  mo- 
tives, wrong  teaching,  wrong  practice,  and  bad  results,  would 
be  altogether  in  his  favor. 

Reform  under  such  circumstances  would  be  a  herculean  un- 
dertaking. It  would  require  time,  and  effort,  and  patience,  and 
self-denying  perseverance.  Yet,  in  how  many  congregations  of 
the  land  do  we  witness  this  exact  state  of  things !  A  careful 
investigation,  in  regard  to  the  office  of  praise  among  Christian 
worshippers,  would  no  doubt  produce  fearful  revelations. 


II 


THE  NEW  ORGAN  AND  THE  BRASS-BAND  TEACHER. 

"  Friend,  quoth  the  sage,  that  fine  machine  contains 
Exacter  numbers  and  diviner  strains : 


But  yet  to  wake  them,  rouse  them,  and  inspire, 

Asks  a  fine  finger  and  a  touch  of  fire."— Cawtuorne. 

The  organ,  rightly  employed,  is  a  fine  accompanying  instru- 
ment. Nothing  can  equal  it.  Its  immense  harmonic  resources, 
and  its  countless  varieties  of  tone,  place  it  at  the  head  of  all 
instruments  for  the  use  of  the  church.  An  instrument  of  such 
extensive  powers,  however,  should  not  be  intrusted  to  the  guid- 
ance of  unskilful  hands. 

Some  years  ago,  the  good  people  in  a  certain  parish  in  New 
England  found  great  difficulty  in  sustaining  their  singing.  There 
was  so  little  talent  in  the  choir  and  so  little  taste  in  the  congre- 
gation, that  every  effort  towards  improvement  had  been  inef- 
fectual. In  this  dilemma,  the  parish  thought  it  advisable  to 
procure  an  organ.  The  instrument  would  prove  an  object  of 
attraction.  It  would  diffuse  taste  among  the  people.  It  would 
give  facility  to  vocal  culture ;  and,  in  short,  it  would  perform 
mechanically,  they  imagined,  almost  everything  desirable  in 
this  department  of  public  worship.  The  difficulty  of  securing 
a  good  player  did  not  then  occur  to  them.  If  only  the  purchase- 
money  could  be  raised,  and  the  instrument  be  procured,  their 


THE   NEW   ORGAN.  17 

anxieties  would  be  at  an  end.  The  object  was  accomplished. 
The  builder  in  due  time  put  up  the  organ,  and  "  showed  off"  in 
commonplace  flourishes  its  various  stops  and  combinations. 
The  impression  was  delightful,  and  the  people  were  satisfied 
with  their  purchase. 

it  was  now  time  to  look  for  a  player.  The  first  one  who  of- 
fered was  "  a  natural  musician."  He  knew  nothing  of  rules, 
but  depended  wholly  upon  his  ear.  He  had  indeed  a  staff,  but 
it  was  a  wooden  one,  a  veritable  walking-stick,  supplied  with 
significant  notches  and  curvatures,  such  as  would  remind  you 
of  the  rude  original  of  the  music-staff  of  modern  days.  By 
the  use  of  this  staff  he  had  managed  to  play  without  other  assist- 
ance. This,  though  the  man  was  no  antiquarian,  was  going 
back  to  the  beginning  of  things.  But  the  onward  progress  was 
slow.  The  organ  groaned  under  its  hard  treatment,  and  the 
people  responded  till  the  seat  of  the  executant  was  vacated. 

The  next  performer  had  but  a  slight  knowledge  of  musical 
characters.  He  was  a  perfect  smatterer.  At  some  former  time, 
he  had  taken  six  or  eight  lessons  of  a  distinguished  master.  He 
could  now,  by  the  closest  attention,  sustain  the  air  and  bass  of 
so  plain  a  tune  as  Marlow,  filling  up  the  intermediate  parts  in 
the  score  according  to  his  own  fancy  or  convenience.  But  such 
playing !  The  jargon  was  intolerable.  Yet,  what  was  to  be 
done  ?  The  young  man  had  volunteered  his  services.  He  be- 
longed to  an  influential  family,  and  expected  in  due  time,  no 
doubt,  to  become  a  distinguished  player.  Happily  for  the  choir 
and  congregation,  he  soon  changed  his  mind,  and  took  passage 
in  a  steamer  for  the  South. 

He  was  succeeded  by  a  young  school  girl,  who  had  been 
taught  to  play  songs  and  waltzes  on  the  piano-forte.  She  had 
not  sought  the  situation,  but  took  her  seat  very  modestly  after 
many  pressing  solicitations.     Of  course,  she  knew  nothing  of 


18  THE   NEW   ORGAN 

harmony.  She  did  her  best  to  give  satisfaction.  But  the  organ 
would  often  interfere  with  and  chafe  the  singers ;  and  her  touch 
was  the  energetic  staccato  stroke  of  the  pianist,  producing  such 
perpetual  puffs  and  wheezes  and  rattlings  of  the  keys,  as  if  the 
instrument  had  caught  the  asthma  ! 

Next  in  train  came  a  gentleman  who  had  some  knowledge 
of  harmony  ;  but  his  touches  were  rude  and  awkward,  and  he 
knew  little  of  vocal  effect,  and  was  unacquainted  with  the  rules 
which  should  regulate  an  accompaniment.  However,  as  he 
could  manage  to  keep  the  "  machine  upon  the  right  track," 
some  improvement  might  be  anticipated.  Many  of  the  choir 
who  had  left  in  discouragement  began  to  return.  Their  num- 
bers increased.  It  was  a  pleasant  thing  for  untutored  voices  to 
go  up  to  the  organ,  and  be  unwittingly  guided  by  its  dictations. 
But  as  the  music  was  beginning  slowly  to  improve,  the  organist 
was  called  to  another  situation  on  a  small  salary. 

Several  changes  ensued,  which  were  less  noticeable.  One 
player  knew  so  little  of  the  stops  as  to  produce  bad  combina- 
tions. Another  had  a  great  abhorrenee  of  interludes,  chiefly, 
as  was  supposed,  because  he  was  deficient  in  invention.  A 
third  would  play  such  merry  voluntaries,  as  were  ill  in  keeping 
with  the  solemnities  of  the  place ;  and  a  fourth  was  irregular 
and  irreverent  in  his  deportment.  He  was  evidently  of  the 
tribe  of  Tobiah  and  Sanballat.  But  at  length  there  came  to 
reside  m  the  village  a  foreigner,  who,  though  ignorant  of  Am- 
erican music,  was  well  acquainted  with  the  organ. 

This,  after  so  many  scenes  of  disquietude,  was  a  joyous  event. 
The  man  was  modest  as  well  as  skilful.  He  was  quite  willing 
to  be  directed.  He  made  no  pretensions  to  vocal  music  ;  but 
thought  there  was  "  at  present,  some  need  of  instruction."  His 
suggestion  was  acted  upon.  The  instructor  they  selected, 
though  not  remarkable  for  vocal  talent,  had  once  belonged  to 


AND  THE  BRASS-BAND  TEACHER,  19 

the  full  chorus  of  an  oratorio.  Those  who  are  unacquainted 
with  oratorial  arrangements,  have  no  idea  what  an  amount  of 
u  raw  material  is  worked  up"  in  those  massive  combinations 
of  voices  and  instruments.  The  teacher  they  engaged  was  an 
instructive  specimen.  His  usual  employment  was  to  teach 
brass  bands.  To  give  instruction  in  psalmody  was  a  new  thiug 
to  him.  He  had  no  particular  fancy  for  it,  unless  he  could  be 
supplied  with  brazen-throated  pupils.  He  would  have  them 
pour  forth  in  no  stinted  measure.  Vocal  delivery  was  with  him 
a  matter  of  no  account.  He  did  not  understand  it.  Noise  was 
everything.  His  manner  was  loud,  boisterous,  and  irreverent. 
Such  was  the  teacher.  The  pupils  were  pleased  with  him, 
and  when  his  school  had  terminated,  he  settled  in  the  place, 
consenting,  for  a  small  salary,  to  act  as  chorister.  The  choir 
lost  all  their  dulness.  There  was  no  lack  of  animation.  The 
moment  the  organist  was  ready,  every  one  was  on  the  alert. 
The  instrument  would  discourse  marvellously.  The  voices 
were  a  full  match  for  it.  Everything  was  buoyant  and  joyous. 
Plaintive  music  was  regarded  as  dull  and  insipid,  and  when  pa- 
thetic hymns  were  given  out,  the  singers  would  find  it  conve- 
nient to  take  bright  views  of  the  subject  before  them,  and  sound 
forth  in  joyous  strains.  All  their  music  was  of  the  same  char- 
acter, loud  and  vehement.  It  was  such,  however,  as  the  people 
were  inclined  to  regard  with  favor.  Though  it  was  -;  not  par- 
ticularly devotional,"  it  disappointed  no  expectations.  The  ex- 
perience of  the  church  in  this  matter  had  always  been  deficient. 
Time  had  been  when  its  members  constituted  no  inconsiderable 
portion  of  the  choir.  But  they  never  fully  apprehended  the 
nature  of  their  position,  and  not  being  much  benefited,  they 
gradually  withdrew,  till  all  the  seats  were  occupied  with  other 
incumbents.  The  latter  continued  to  maintain  a  grave  and  be- 
coming deportment,  for  in  most  points  they  had  been  religious- 


20  THE   NEW  OEGAJST. 

ly  educated.  But,  they  were  no  cynics  on  week-days.  Some 
of  them  belonged  to  a  noisy,  facetious  club,  some  to  cotillion 
parties,  and  some,  as  often  as  they  visited  the  adjacent  city, 
would  be  seen  at  the  circus  and  the  theatre. 

Such  was  the  state  of  psalmody  in  that  parish.  And  can  it 
be  supposed  that  the  office-work  of  praise  was  rightly  fulfilled, 
under  such  circumstances  ?  We  think  not.  The  most  import- 
ant elements  were  wanting.  The  music  was  virtually  instru- 
mental. The  voice  said  nothing,  asked  nothing,  confessed  no- 
thing. Emotions  were  inappropriate.  There  was  no  commit- 
ment of  soul.  The  singers  were  not  seriously-minded.  The 
singing  was  as  deficient  in  manner  as  in  spirit. 

But  an  important  change  was  evidently  near  at  hand.  Such 
inappropriate  music  as  we  have  described  could  not  always  be 
tolerated.  Already  a  want  was  beginning  to  be  felt,  which 
nothing  but  Christian  principle  and  Christian  influence  could 
fully  satisfy.  The  subject  became  a  matter  of  calm  discussion 
and  inquiry.  Better  counsels  at  length  prevailed.  After  so 
much  mismanagement,  and  ignorance,  and  misconception,  and 
culpable  indifference,  the  true  foundations  of  religious  music 
were  permanently  laid.  Intelligence  and  piety  assumed  the 
direction.  The  organ  then  became  a  different  instrument.  It 
was  no  longer  the  chief  object  of  attention,  but  a  pleasing  aux- 
iliary to  the  voice  of  humble,  intelligent,  heart-felt  praise.  It 
was  then  seen  by  that  people  that  such  an  instrument  should 
not  be  procured  without  sufficient  reason,  or  be  confided  to  the 
charge  of  an  incompetent  organist.  It  was  seen  also,  that 
church-music  is  one  of  those  interests  which  should  be  high- 
ly prized  and  perpetually  cherished,  and  that  measures  for  its 
improvement  should  never  be  adopted  without  some  knowl- 
edge of  their  practical  tendency.  These  important  lessons  will 
long  be  remembered. 


III. 

A  PASTOR  WITHOUT  MUSICAL  TASTE- 

«  'What  saith  the  Scripture  ?"— Rom.  4 :  3.— Gal.  4  :  30. 

"  The  matter  has  not  been  so  considered,"  said  one,  in  ter- 
minating an  animated  conversation.  Not  so  considered !  But 
how  ought  it  to  be  considered  ?  That  was  the  real  question  at 
issue.  The  individual  referred  to  was  a  talented  young  clergy- 
man, who,  without  mature  reflection,  thus  disposed  of  the  scrip- 
tural argument  against  systematic  formalism,  in  the  office  of 
praise.  He  was  "  unacquainted  with  music :"  and  it  was  not 
for  him  to  "interfere  with  existing  arrangements."  Though 
evidently  hard  pressed  with  the  argument  he  had  been  hearing, 
there  was  no  rudeness  or  discourtesy  in  his  remarks.  But  the 
car-bell  had  rung,  and  he  must  be  on  board ;  and  so  he  dismiss- 
ed the  subject  by  falling  back  upon  public  opinion. 

But  there  was  a  peculiar  unhappiness  in  the  case.  His  peo- 
ple had  recently  been  lectured  on  the  subject,  and  had  been 
partially  aroused  to  effort.  Some  of  the  influential  members 
of  the  church  had  taken  their  seats  in  the  choir.  The  music, 
however,  was  still  led  by  a  very  ungodly  chorister ;  because  no 
other  person  had  as  yet  gained  sufficient  skill  for  sustaining  the 
duties  of  that  office.  The  church  might  have  procured  a  better 
leader.  They  were  bound  to  do  so  ;  and  half  believed  them- 
selves involved  in  that  obligation.    But  during  the  brief  period 


22  A   PASTOR   WITHOUT   MUSICAL  TASTE. 

of  instruction  which  had  been  enjoyed,  the  pastor  had  been  ab- 
sent, and  knew  nothing  of  the  considerations  which  had  been 
presented  ;  and  when  the  delicate  question  of  a  change  of  chor- 
ister came  before  him,  he  very  naturally  referred  to  the  practice 
of  other  churches ;  and  thus,  at  a  critical  moment,  threw  the 
weight  of  his  influence  into  the  wrong  side  of  the  scale.  Most 
of  the  singers  were  young  and  inconsiderate.  The  pious  mem- 
bers of  the  choir  felt  grieved  and  disheartened.  Their  efforts 
were  beginning  to  be  withdrawn ;  and  the  good  impressions 
which  had  been  left  upon  the  minds  of  the  people  were  gradu- 
ally diminished. 

The  young  pastor,  though  he  knew  it  not,  had  virtually  de- 
cided against  the  progress  of  reform  ;  and  this  was  the  reason 
why  the  lecturer,  accidentally  meeting  with  him  in  another  part 
of  the  country,  had  endeavored  to  lead  him  to  the  maintenance 
of  right  views.  He  reasoned  with  him  from  the  nature  of  our 
holy  religion,  "  God  looketh  upon  the  heart."  He  reasoned 
from  Scripture  examples.  David  did  not  write  the  fifty -first 
Psalm  for  the  promotion  of  musical  effect,  but  for  a  deep,  heart- 
broken confession  of  sin.  Paul  and  Silas,  in  the  depths  of  a 
dismal  dungeon,  were  not  giving  a  musical  soiree,  but  pouring 
out  their  souls  in  holy  offerings  of  praise.  The  songs  of  heaven, 
as  recorded  in  the  Apocalypse,  were  not  in  character  like  mu- 
sical interludes,  but  rapturous  outbursts  of  holy  joy,  in  view 
of  certain  wonderful  events  and  transactions.  He  reasoned 
from  the  definition  of  the  word  sing  contained  in  the  Scripture 
precepts.  It  there  conveys  the  idea  of  melodious  verbal  utter- 
ance. Musical  history  establishes  this  definition.  Such  an  ut- 
terance in  a  solemn  act  of  worship,  should  never  be  merely  art- 
istic. And  finally,  he  reasoned  from  precepts  and  illustrations 
given  by  the  Apostle  Paul,*  who  insists  that  singers  are  bound 
*  See  1  Corinth.  14  :  19,  <fcc. ;  Ephesians,  5  :  IS.  19.  and  Onlossians.  3:  16. 


A   PASTOR   WITHOUT    MUSICAL   TASTE.  2d 

to  speak  intelligibly  and  from  the  heart,  to  each  other  and  to 
God,  in  their  songs  ;  being  filled  with  the  Spirit,  while  the  word 
of  God  dwells  richly  within  them. 

But,  because  the  pastor  had  acquired  no  knowledge  of  mu- 
sic, the  requisites  and  pre-requisites  named  by  the  Apostle  on 
this  subject,  it  seems,  had  never  attracted  his  attention.  He 
had  viewed  the  whole  subject  from  a  different  stand  point — that 
of  imaginary  native  deficiencies.  Good  people  entertained  dif- 
ferent views  in  the  matter  ;  and  why  should  he  trouble  himself 
respecting  it,  since  Nature  had  denied  him  the  power  of  making 
accurate  discriminations  1  And  what  if  he  could  not  at  once 
resist  the  lecturer's  argument ;  there  was  probably  some  escape 
from  it.  Men  long  devoted  to  a  single  subject  are  liable  to  be- 
come ultra.  It  will  never  answer  to  press  a  point  too  far  in 
matters  of  taste.  With  such  considerations  as  these,  the  young 
pastor  closed  the  interview  ;  and  when  he  returned  to  his  flock, 
other  interests  engrossed  his  attention.  So  the  chorister  con- 
tinued to  indulge  in  profaneness  on  week  days,  and  to  lead  in 
the  praises  of  God  with  visage  sanctimonious  on  the  Sabbath. 
This  abuse  continued  for  years,  till  the  pastor  was  called  to  an- 
other field  of  labor.  The  people  soon  forgot  the  impressions 
of  the  lecturer,  fell  into  their  former  habits  of  neglect,  and 
learned  to  enjoy  the  performances  of  the  choir,  as  pleasant  in- 
terludes to  diversify  the  public  exercises  of  worship. 

Should  not  some  method  be  devised  by  the  friends  of  theolog- 
ical seminaries  for  the  better  training  of  the  "  sons  of  the  proph- 
ets," in  regard  to  the  office  of  praise  ?  Whether  they  can  sing  or 
not,  there  is  much  that  they  might  be  prepared  to  do,  for  the  right 
ordering  of  arrangements,  and  for  the  promotion  of  religious  in- 
fluences in  the  music  of  the  church.  And  who  has  ever  known 
right  influences  to  prevail  for  any  time,  in  this  department  of  wor- 
ship, under  the  disadvantage  of  pastoral  neglect  or  misdirection  ? 


IV. 

A  TALENTED  GOOD  MAX,  BUT  A  NERVOUS  TEACHER. 

"  Prudent,  cautious  self-control, 

Is  wisdom's  root."— Burns. 

As  you  approach  from  an  eastern  direction,  the  pleasant 

village  of  B ,  the  first  object  which  meets  your  eye  is  the 

tall  spire  of  a  church,  which  is  a  fitting  emblem  of  the  heavenly 
aspirations  of  the  people  who  worship  there.  They  are  remark- 
able for  sound  intelligence  and  Christian  consistency.  Their 
benevolence  and  liberality  are  proverbial.  They  have  always 
had  excellent  preaching.  Prayers  have  been  fervent  and  spir- 
itual, but  the  singing  has  been  deficient  in  devotional  charac- 
ter. It  has  not  seemed  to  be  in  keeping  with  the  other  ex- 
ercises. The  members  of  the  choir  have  usually  maintained  a 
becoming  seriousness  of  deportment.  Tunes  have  been  good. 
But  the  performances,  though  not  very  deficient  in  skill,  have 
generally  exhibited  a  want  of  animation.  The  more  conscien- 
tious members  of  the  choir  have  for  a  series  of  years  been  per- 
plexed with  wandering  thoughts  and  conflicting  emotions.  The 
music  seems  i\ot  to  have  aided  their  devotions,  or  to  have  pro- 
duced right  influences  upon  the  silent  worshippers  of  the  con- 
gregation. 

The  causes  of  this  failure  are  involved  in  no  mystery.  That 
choir  had  a  teacher  from  time  to  time,  whose  qualifications  were 


A   TALENTED   GOOD   MAN.  25 

peculiar.  He  was  an  industrious  man,  and  occasionally  a  se- 
vere disciplinarian,  but,  unfortunately,  he  was  of  a  very  ner 
vous  temperament.  He  was  one  of  those  good  people  who 
have  not  quite  enough  of  religion  to  make  them  comfortable. 
There  are  many  such  persons  in  this  world  of  ours.  They  too 
often  invert  the  terms  of  the  inspired  maxim  in  regard  to 
worldliness,  seeking  first  the  things  of  this  world,  with  the  ex- 
pectation that  heavenly  things  will  be  superadded.  Hence 
they  are  frequently  in  darkness  and  perplexity,  and  are  remiss 
in  duty  and  deficient  in  self-discipline.  One  who  is  of  a  ner- 
vous temperament  is  peculiarly  subject  to  such  experiences. 
The  teacher  was  greatly  influenced  by  trifling  circumstances. 
"When  the  weather  was  stormy,  or  when  the  east  wind  blew,  he 
was  sure  to  be  gloomy  and  irritable.  His  manner  would  then 
be  severe.  Nothing  would  seem  to  please  him.  The  pupils 
would  be  so  late  in  coming,  the  school  would  be  so  noisy,  the 
singing  would  be  out  of  pitch,  or  in  bad  time,  and  the  voices 
would  be  rough,  hard,  and  unmanageable.  The  singers  would 
be  so  negligent  of  style  and  heedless  of  improvement,  as  almost 
to  give  him  the  idea  that  they  were  amusing  themselves  at  his 
expense.  But  when  the  weather  was  clear  and  the  air  elastic, 
he  would  be  quite  a  different  sort  of  man.  His  spirits  would 
be  unduly  exhilarated.  He  would  be  so  easily  pleased  as  to 
be  superficial  in  his  teaching,  and  lax  in  his  discipline.  He 
had,  at  such  times,  a  high  sense  of  the  ridiculous.  His  criti- 
cisms would  be  trivial,  his  remarks  eccentric,  and  his  illustra- 
tions comical.  His  whole  deportment  would  be  so  amusing  as 
to  call  forth  in  the  school  many  a  significant  smile,  the  exact 
import  of  which,  he  would  not  fully  comprehend.  His  pupils 
pitied  him.  They  formed  a  high  estimate  of  his  talents,  and 
were  willing  to  bear  with  infirmities  which  were  "  so  indicative 
of  genius."'     In  truth,  "  he  had  some  good  points  about  him." 

2 


26 

He  was  active,  industrious,  and  conscientious.  He  insisted 
upon  good  vocal  delivery.  He  was  solicitous  also  to  secure 
the  right  treatment  of  sacred  words,  and  would  often  refer  to 
the  importance  of  that  subject.  But  it  was  difficult  for  his  pu- 
pils to  imagine  how  either  peevishness  or  merriment  could  co- 
exist with  sentiments  of  religious  veneration. 

Such  were  the  peculiarities  of  the  teacher.  He  was  a  good 
man,  but  a  bad  philosopher.  He  labored  hard,  and  brought 
little  to  pass  beyond  the  elementary  traits  of  style.  Emotions 
will  not  spring  up  at  the  biddings  of  criticism.  It  is  only  when 
we  are  musing  upon  some  specific  object,  that  they  are  wont  to 
kindle.  Religious  affections  also  observe  the  same  general 
law.  They  are  called  forth  by  the  contemplation  of  divine 
things,  and  not  by  chafing  remarks  or  comical  illustrations. 

The  teacher  entertained  correct  notions  of  the  office  of  praise. 
His  theory  was  faultless.  His  views  of  obligation  were  dis- 
criminating, and  he  made  them  familiar  to  his  pupils.  He  re- 
garded praise  as  a  spiritual  exercise,  a  solemn  religious  duty. 
His  remarks  upon  it  were  usually  just,  and  sometimes  eloquent. 
Nor  was  it  possible  for  his  pupils  to  misapprehend  his  meaning. 
Their  conscience  was  enlightened.  There  was  impressed  upon 
their  minds  a  deep  sense  of  responsibility.  Yet  excellent  as 
was  the  teacher's  theory  in  this  respect,  he  was  not  successful 
in  reducing  it  to  practice.  The  mind  was  constantly  pre-occu- 
pied.  It  was  never  loosed  from  its  entanglements.  Worship 
and  criticism,  convictions  of  duty  and  artistic  considerations, 
were  left  to  struggle  on  together,  and  that,  under  the  influence 
of  peevishness  or  humorous  eccentricities,  without  any  prospect 
of  a  satisfactory  issue.  The  teacher  was  inculcating  practical 
impossibilities.  In  fact,  he  was  producing  by  such  mismanage- 
ment, the  very  mental  habits,  which  were  afterwards  to  cause  such 
constant  embarrassments  of  thought,  in  seasons  of  public  worship. 


BUT  A   NERVOUS  TEACHER.  27 

But  this  was  not  all.  The  teacher  knew  the  importance  of 
obtaining  the  Divine  blessing,  and  was  disposed  to  seek  it  by- 
earnest  prayer  in  the  presence  of  the  school.  This  was  right. 
A  temperament  like  his,  might  have  been  benefited  by  such  an 
exercise  during  the  entire  evening.  It  might  have  strengthened 
his  convictions  of  responsibility,  and  made  him  more  watchful 
over  his  own  spirit.  It  might  have  kept  his  mind  in  better  bal- 
ance, and  in  more  desirable  frames.  It  might  also  have  proved 
very  advantageous  to  his  pupils.  The  remembrance  of  having 
sought  divine  direction  and  guidance  at  the  commencement  of 
the  exercises,  might  have  operated  through  the  evening  as  a 
check  upon  untoward  propensities,  and  as  a  stimulus  to  greater 
exertions.  The  teacher,  however,  saw  this  subject  rather  dimly, 
and  the  single  consideration  that  his  pupils  were  not  punctual 
at  the  hour  of  meeting,  led  him  to  defer  the  exercise  of  prayer 
till  the  close  of  the  evening,  when  its  most  desirable  advan- 
tages wrould  be  nearly  lost.  The  peculiar  blessings  were  not 
sought,  till  the  time  for  receiving  them  had  passed  away.  The 
prayers  were  at  that  late  hour  either  inconsistently  in  the 
pluperfect*  tense,  or  they  wrere  so  general  and  indefinite,  as  to 
savor  of  indifference  and  formality. 

Thus  we  have  seen  in  detail  the  principal  causes  of  failure  in 
.the  performances  of  this  choir  in  church.  The  embarrassments 
under  which  the  singers  have  been  so  lpng  and  so  painfully  la- 
boring, have  been  the  inevitable  result  of  misguided  instruction. 
The  mind  cannot  be  everywhere  at  once.  It  cannot  engage  at 
the  same  moment  in  worship  and  in  criticism.  Nor  can  it  ac- 
quire right  habits  and  associations  by  the  appliances  of  severity, 
peevishness,  or  merriment.  If  the  mind  is  to  claim  its  entire 
freedom  in  hours  of  devotion,  it  must  be  taught  by  experience 
occasionally  to  liberate  itself,  in  the  exercises  of  the  practicc- 
*  i.  e.  "  May  we  have  been  blessed,"  <to. 


28  A  TALENTED   GOOD   MAN,    ETC. 

room,  from  the  drudgery  of  drilling.  In  praise,  just  as  in  pray- 
er, the  great  Object  of  our  adorations  should  be  made  to  fill  the 
entire  vision.  How  shall  this  be  done,  if  all  the  hours  of  in- 
struction and  preparation  are  spent  in  producing  habits  and  as- 
sociations which  bring  the  mind  into  perpetual  captivity.  What 
if  clerical  elocution  were  to  be  taught  in  such  a  manner !  What 
if  the  mind  were  to  be  so  misguided  and  enslaved,  in  reference 
to  the  diction  and  the  utterance  of  social  prayer  ? 

The  special  troubles  of  this  choir  ought  not  to  surprise  us. 
There  is  nothing  in  them  of  novelty,  nothing  which  is  mysteri- 
ous, nothing  which  cannot  be  readily  explained.  Every  advance 
in  such  instruction  served  only  to  make  the  matter  worse.  The 
pious  members,  so  continually  defeated  in  the  conflict  with  un- 
toward habits  and  associations,  are  still  ignorant  of  the  opera- 
tion of  the  causes  we  have  mentioned.  They  look  upon  the 
difficulty  as  one  of  those  developments  of  a  fallen  nature  which, 
in  the  present  evil  world,  will  remain  without  a  remedy.  But 
let  them  at  length  make  the  discovery  which  is  here  set  forth, 
and  relief  will  be  in  their  power. 


CHOIR-SIX  GIXG  MADE  RESPECTABLE. 

"Deliberate  with  caution,  but  act  with  decision ;  and  yield  with  graciousness,  or  op- 
pose with  firmness." — Colton. 

Rev.  Mr.  R pursued  his  theological  course  under  very 

favorable  musical  influences.  He  had  a  good  ear  for  music. 
His  voice  was  pleasant  and  commanding.  His  class  enjoyed 
the  advantage  of  musical  lectures,  and  an  hour  every  week  for 
special  practice.  By  these  means,  he  gained  just  that  amount 
of  information  and  skill,  which  would  enable  him,  wherever  he 
might  be  settled,  to  secure  good  devotional  singing  among  his 
people.  Soon  after  his  licensure,  he  took  charge  of  a  wealthy 
congregation  in  one  of  the  Eastern  States. 

The  people  were  pleased  with  their  pastor.  They  admired 
his  talents,  revered  his  piety,  and  confided  in  his  discretion. 
Their  esteem  was  not  misplaced,  for  he  was  no  ordinary  man. 
He  loved  his  people ;  and  in  the  main  was  pleased  with  their 
views  and  arrangements.  The  music  at  church,  however,  was 
miserably  poor.  At  the  same  time,  he  noticed  a  great  fondness 
for  instrumental  music  among  the  people  ;  and  very  naturally 
connected  the  two  circumstances  together,  as  if  the  one  had 
been  occasioned  by  the  other.  Just  such  results  had  often  oc- 
curred. But  he  soon  discovered  that  in  some  families  there 
was  an  equal  fondness  for  vocal  music,  as  was  manifest  by  occa- 


30  CHOIR-SINGING  MADE  RESPECTABLE. 

sional  performances  in  the  parlor.  Parlor  music,  too,  was  usu- 
ally well  chosen.  The  singing  and  accompaniment  evinced 
much  skill  and  refinement.  There  was  also  a  general  conviction 
among  the  people  that  the  psalmody  was  deficient.  But  how 
was  this  to  be  remedied  ?  Every  effort  had  failed.  Good  sing- 
ers would  not  unite  with  the  choir,  and  poor  ones  would  not 
profit  by  instruction.     There  was  therefore  no  improvement. 

The  pastor  attended  the  rehearsals  of  the  choir,  and  readily 
discovered  the  causes  of  the  difficulty.  The  choir  had  not  been 
sustained  by  people  of  influence,  and  religious  obligations  had 
not  been  duly  considered. 

The  pastor,  taking  all  the  circumstances  into  view,  saw  what 
ought  to  be  done.  He  determined  if  practicable  to  obtain  a 
good  church-organ  ;  and  then  bring  into  use  the  vocal  talent  of 
the  parish,  on  Christian  grounds.  This  plan  would  best  accord 
with  the  musical  habits  and  notions  of  the  place,  and  be  the 
more  likely  to  ensure  permanent  success.  The  people  readily 
subscribed  for  the  instrument,  and  while  it  was  being  built,  a 
small  class  of  young  ladies  took  lessons  in  thorough-bass,  and 
sought  to  acquire  the  appropriate  touch  and  management  which 
would  be  needed.  Just  as  the  builder  had  completed  his  work 
and  brought  it  to  hand,  the  Sabbath  drew  on.  Then  was  the 
pastor's  time,  while  ail  was  expectation,  to  spread  before  his 
people  the  solemn  teachings  of  the  Bible  in  reference  to  the 
manner  and  spirit  of  praise.  It  was  a  Sabbath  well  spent. 
The  appeal  was  not  in  vain.  There  was  resting  upon  the  minds 
of  all  a  new  conviction  of  responsibility.  There  was  doubtless 
sufficient  talent  in  the  place,  and  why  should  it  not  be  put  in 
requisition  ?  It  was  due  to  themselves  as  a  people.  It  was 
due  to  the  interests  of  the  church,  and  especially  was  it  due  to 
the  great  Object  of  religious  homage.  This  could  not  be  de- 
nied.    Many  of  his  people,  too,  had  special  talent.     "  The  pos- 


CHOIR-SINGING    MADE    RESPECTABLE.  31 

session  of  this,  imposes  corresponding  obligation."  Those  who 
could  sing  so  sweetly  with  an  accompaniment  in  the  drawing- 
room,  could  easily  render  efficient  service  in  the  church,  by 

uniting  their  voices  with  the  organ. 

Such  was  the  substance  of  his  commencing  appeal,  li.  d 
not  exhaust  the  subject.  He  did  not  use  up  at  once  his  entire 
stock  of  materials,  as  many  might  have  done.  He  knew  that 
his  people  would  yet  require  "  line  upon  line  and  precept  upon 
precept."  This  would  be  as  necessary  in  regard  to  praise  as  in 
reference  to  prayer.  Yet  there  was  no  deficiency  in  his  tirst  ap- 
peal. This  was  followed  by  individual  conversations,  which 
were  attended  with  the  most  pleasing  success. 

One  day,  after  listening  to  a  delightful  strain  of  parlor  music, 
he  familiarly  addressed  the  young  lady  who  had  been  entertain- 
ing him, — "Now,  Mary,  we  need  just  such  a  singer  as  you  are 
to  be  a  leading  member  of  the  choir  we  are  about  remodelling." 

"  O,  Mr.  R ,  you  would  make  me  so  conspicuous  !" 

"  Indeed !  How  many  of  the  congregation  do  you  suppose 
would  notice  you  particularly  in  so  large  a  choir  V 

"  Why,  more  than  fifty." 

"  And  yet  the  other  evening,  as  I  am  told,  you  sung  alone 
very  obligingly  and  very  sweetly  to  a  much  larger  number." 

"  But — custom,  you  know,  sir — " 

"  Is  sometimes  wrong,  and  when  it  is  so.  we  must  endeavor 
to  rectify  it.  If  it  were  customary  for  young  ladies  to  absent 
themselves  from  the  Sabbath-school,  you  would  not  hesitate 
about  the  matter — you  would  be  just  the  more  punctual  in  at- 
tendance." 

"  Yes,  I  can  say  that." 

"  It  is  customary  here,  I  am  sorry  to  say,  for  young  people 
of  talent,  piety,  and  influence,  to  neglect  the  praises  of  God. 
Is  this  a  right  custom  ?" 


32  CHOIR-SINGING  MADE  RESPECTABLE. 

"  You  tell  us  that  it  is  not." 

"  There  is  no  Bible  precept  that  literally  commands  you  to 
Sunday-school  labors ;  but  every  one  that  breathes  is  bound  to 
offer  praise.  The  possession  of  talent,  you  know,  enhances  ob- 
ligation." 

;;  I  suppose  our  singing  ought  to  be  better." 

i;  Is  it  not  a  sin  to  treat  it  with  such  neglect  V 

"  There  is  something  wrong  about  it ;  but — " 

"  Just  pause  a  moment,  my  young  friend.  The  wrong  has 
been  too  long  tolerated.  It  must  be  done  away.  You  profess 
to  have  piety — you  have  talent,  and  you  have  influence.  But — 
what  will  you  do  V 

"  Mr.  R ,  you  are  hard  upon  me." 

';  How  so  1     I  desire  only  to  be  faithful." 

"  You  do  not  mean  to  say,  that  I  am  bound  to  become  a  pub- 
lic singer  V 

"  Not  professionally." 

"  But  you  would  have  me  sing  in  public  V 

"  Not  for  display  or  amusement,  but  for  solemn  worship." 

"  And  you  think  I  am  called  to  make  such  a  sacrifice  of 
feeling  ?' 

"  Rather  say,  to  enjoy  a  precious  privilege." 

"  I  do  not  see  what  it  would  avail." 

"  You  have  some  firmness.  You  have  stability.  Your  ex- 
ample would  influence  others  who  have  less  decision." 

"  But,  Mr.  R ,  it  would  be  considered  so  ungenteel !" 

"  Mary  !" — said  he,  in  a  mingled  tone  of  kindness  and  disap- 
probation. 

"  Pardon  me.     I  was  wrong.     But — " 

"  Yet  you  hesitate." 

"  The  choir,  you  know,  are  such  miserable  singers." 

"  Therefore,  we  wish  for  better  ones." 


CHOIR-SIXGING   MADE   RESPECTABLE.  33 

"  They  are  persons  with  whom  I  do  not  associate." 

"  You  meet  them  in  the  lecture-room  ;  you  associate  with 
them  in  the  Sunday-school ;  and  with  many  of  them  you  are 
most  affectionately  united  at  the  communion-table.  Cannot 
you  unite  with  them  in  praise  ?" 

"  But  who  will  play  the  organ,  and  who  will  lead  us  V 

"  Leave  that  to  me.     I  will  arrange  it." 

"  I  should  hate  to  go,  and  then  fail." 

"  To  fail  in  a  good  cause  through  the  fault  of  others,  is  no 
disgrace." 

"  Mr.  R ,  you  have  conquered  me.     I  will  go." 

"  Right.    That  is  well  spoken.    I  like  decision.     Now  I  shall 

be  able  to  persuade  Miss  B ,  Miss  C ,  and  Miss  D , 

and  other  of  your  associates  to  join  you  ;  and  if  it  is  not  cus- 
tomary for  respeetable  people  to  lead  in  the  public  praises  of 
God,  we  will  make  it  so  ;  and  that  will  be  establishing  a  good 
custom  in  place  of  a  bad  one." 

After  the  full  consent  of  Miss  M ,  the  pastor  had  no  fur- 
ther difficulty  as  to  numbers.  The  choir-seats  were  ample  and 
pleasant.  One  of  the  best  of  the  thorough-bass  pupils  took 
her  station  at  the  instrument ;  and  a  pious  young  man  who  had 
gained  some  standing  in  the  community  consented  to  act  as 
chorister.  At  the  first  meeting,  the  singers  sat  promiscuously, 
and  the  jargon  was  intolerable.  But  there  was  an  obvious  re- 
medy. Those  who  had  been  accustomed  to  sing  with  instru- 
ments were  seated  in  the  most  commanding  places.  This  gave 
satisfaction,  and  the  arrangement  became  permanent.  A  few 
rehearsals,  conducted  with  religious  order,  prepared  the  choir, 
the  organist,  and  the  chorister,  for  the  exercises  of  the  Sabbath. 
The  effort  succeeded.  The  playing  was  chaste  and  simple.  The 
singing  was  harmonious.  The  words  of  the  hymns  were  well 
uttered,  and  their  solemn  import  was  deeply  realized  by  the 

2* 


34  CHOIR-SINGING   MADE   RESPECTABLE. 

choir  and  congregation,  Old  tunes  were  not  wholly  discarded. 
Once  or  twice  on  every  Sabbath,  the  congregation  united  their 
voices  with  the  choir.  The  performances,  then,  would  be  suffi- 
ciently rude ;  but  by  frequent  repetition  of  effort,  the  style 
began  visibly  to  improve.  Most  of  the  choir  would  also  be  at 
the  weekly  lectures ;  and  sitting  together  on  the  same  level 
with  others,  sought  indirectly  to  promote  congregational  sing- 
ing. The  kindest  sympathies  were  thus  forming  between  the 
several  classes  of  worshippers. 

What  could  have  been  more  delightful  ?  All  were  pleased. 
All  were  benefited.  The  pastor  was  comforted  in  his  labors. 
The  Sabbath  exercises  were  continually  increasing  in  interest. 
The  effect  was  highly  devotional.  The  young  ladies  forgot  all 
conspicuity,  in  the  richness  of  Christian  enjoyment,  and  ex- 
pressed their  gratitude  to  their  pastor  for  providing  them  with 
so  rich  a  privilege.  Nothing  could  tempt  them  now  to  desert 
the  choir.  All  regarded  the  service  as  Christians  ought  to  do, 
and  no  doubt,  gained  acceptance  before  the  Master  of  Assem- 
blies, as  humble,  devout  worshippers. 

Having  made  so  favorable  a  beginning,  the  arrangement 
could  easily  be  sustained  from  year  to  year.  Christian  princi- 
ple and  Christian  enjoyment  would  keep  everything  harmonious. 
One  thing  however,  remained  to  be  done,  and  the  pastor  for  a 
time  had  kept  it  in  reserve.  After  the  people  had  learned  to 
enjoy  as  a  devotional  exercise,  the  singing  at  church,  he  made  a 
special  appeal  to  them  in  behalf  of  the  practice  of  singing  at 
family  worship.  Bible  precepts  and  examples  were  quoted, 
and  historic  records  of  by-gone  days  were  not  referred  to  in 
vain.  The  duty  was  too  important  to  be  neglected,  the  privi- 
lege too  precious  to  be  abused  or  disregarded.  Many  of  the 
people  complied  with  the  advice  of  their  pastor,  and  succeeded 
beyond  their  hopes  in  reaping  its  advantages.     This  naturally 


CHOIR-SINGING   MADE   RESPECTABLE.  85 

led  to  the  instruction  of  their  children  in  psalmody,  which  ulti- 
mately became  a  matter  of  great  interest  and  importance 
through  the  place. 

But  now,  since  the  pastor's  efforts  had  been  crowned  with 
success,  and  his  most  sanguine  anticipations  had  been  realised, 
what  was  more  natural  than  that  he  should  for  a  season  commit 
this  interest  into  other  hands  ?  It  had  occupied  much  of  his 
time,  till  other  interests  were  beginning  to  suffer.  The  music 
was  now  sufficiently  skilful  and  appropriate  to  be  in  keeping 
with  other  exercises.  Greater  refinement  was  not  particularly 
necessary.  Exercises  in  praise  were  well  ordered.  The  choir 
were  well  united.  No  serious  difficulty  had  ever  occurred  to 
mar  the  enjoyment;  and  now  the  pastor  signified  his  intention 
of  confiding,  for  a  time,  the  rehearsals  and  performances  of  the 
choir  chiefly  to  the  management  of  the  leading  singers. 

This  was  hardly  judicious.  Such  interests  require  the  eye 
of  Christian  vigilance.  The  adversary  of  souls,  who  could 
make  no  headway  against  such  faithful  and  such  well-denied  ef- 
forts, had  doubtless  been  watching  for  some  parenthesis  in  the 
pastor's  exertions,  as  the  most  favorable  time  for  him  to  begin 
his  pernicious  work.  He  commenced  adroitly.  The  music  was 
fine,  and  the  people  began  to  praise  it.  It  was  admired  by 
many  in  the  neighboring  parishes.  It  attracted  the  attention 
of  strangers.  It  was  so  appropriate,  so  skilful,  so  well  ordered, 
and  so  impressive.  In  most  respects  it  was  a  model  for  other 
congregations.  One  thing  only,  seemed  to  be  wanting.  At  a 
time  when  music  was  making  such  progress  in  refinement,  the 
standard  of  artistic  excellence  should  be  more  elevated.  The 
organ  should  be  more  skilfully  played.  Such  a  noble  instru- 
ment was  susceptible  of  higher  influences.  The  young  ladies 
had  done  themselves  great  credit  as  amateur  performers,  but, 
as  they  made  no  pretensions  to  superior  skill  in  execution,  they 


36  CHOIR-SINGING  MADE   RESPECTABLE. 

would  now  retire  with  credit,  and  would  gladly  be  released  from 
responsibility.  Mr.  Flourish,  and  Mr:  Superficial  were  coming 
to  reside  in  the  parish,  either  of  whom  would  consent  to  play 
for  a  small  salary.  The  sum  could  easily  be  raised,  and  after- 
wards enlarged,  as  talent  would  be  better  appreciated.  All 
this  seemed  so  plausible,  that  no  objections  were  offered.  The 
population,  for  the  year  or  two  preceding,  had  greatly  changed. 
Many  "  new-comers"  found  their  way  into  the  choir,  who  thought 
more  of  taste  than  of  devotion.  Others,  by  neglect  of  watch- 
fulness were  losing  their  spirituality,  and  relapsing  unconsciously 
into  their  former  habits.  Some  feelings  of  jealousy  began  to 
arise,  and  some  uneasiness  in  regard  to  seats. 

It  was  a  time  of  danger.  A  new  organist,  with  secular 
preferences,  and  ambitious  views,  would  sooner  or  later  occa- 
sion dissatisfaction.  The  people,  through  their  love  for  instru- 
mental music  might  be  gradually  misled,  till  the  executant 
would  have  them  in  his  power.  Such  a  game  as  this  had  been 
too  often  witnessed  in  the  neighboring  parishes.  The  pastor 
took  the  alarm.  A  man  of  less  information,  less  discernment, 
and  less  firmness  of  principle,  would  now  have  retired  in  dis- 
couragement, and  there  would  have  been  an  end  to  all  substan- 
tial improvement.  A  secular  taste  would  soon  have  predomi- 
nated. Bad  management  would  have  ensued.  The  spirit  of 
praise  would  have  given  place  to  unhallowed  feelings  and  irrel- 
evant purposes,  and  a  sad  chapter  of  accidents  would  have  dis- 
turbed the  quiet  and  marred  the  enjoyment  of  the  worshippers. 
Right  principles  and  right  motives  are  as  essential  in  praise  as 
in  prayer. 

The  pastor  saw  that  he  had  erred  in  leaving  the  music  to  the 
guidance  of  inexperienced  hands.  A  part  of  the  mischief  was 
already  accomplished.  The  remainder  must  be  prevented. 
The  two  players  were  in  a  few  days  to  have  an  opportunity  for 


CHOIR-SIXGIXG   MADE    RESPECTABLE.  37 

the  trial  of  their  skill.  This  could  not  well  be  prevented. 
The  people  were  not  unreasonable  in  wishing  the  organ  to  be 
better  played,  and  their  wishes  must  not  be  frustrated  by  any 
direct  interference.  But,  happily,  he  knew  of  a  kind-hearted 
Christian  organist  in  a  neighboring  town,  who  was  just  out  of 
place,  and  who  would  be  glad  of  another  engagement.  His 
people  knew  nothing  of  the  circumstance.  So,  on  the  following 
Sabbath,  he  "  posted  up"  his  hearers,  on  the  importance  of  se- 
curing right  influences,  and  maintaining  just  practical  distinc- 
tions, in  exercises  of  praise.  This  done,  he  awaited  with  some 
anxiety  the  result  of  the  ensuing  trial  of  skill.  The  evening 
came,  the  house  was  crowded,  and  the  pastor  was  early  in  at- 
tendance. Mr.  Superficial  took  his  seat,  and  poured  forth  a 
noisy  and  rapid  voluntary,  which  drew  the  people  upon  their 
feet,  with  hands  uplifted,  mouths  open,  and  eyes  that  spoke  in- 
communicable things. 

"  Where  did  you  obtain  that  fine  piece  V  said  the  pastor. 

"  I  found  it,"  said  the  player  hesitatingly,  for  he  feared  the 
prejudices  of  the  people,  "1  found  it  in  a  composition  of 
Haydn's." 

"  That  is  quite  artistic.     Where  can  it  be  obtained  V 

"  At  Messrs.  B.'s,  sir." 

"  What  shall  I  ask  for  f ' 

"  The  Devil  on  Two  Sticks,"  said  he,  softly,  with  the  hope  that 
the  people  would  not  uuderstand  him. 

"  Hie  Devil  on  Two  Sticks !"  responded  the  pastor.  "  It  is 
an  opera,  1  suppose  V 

"  Yes,  sir,  the  overture." 

The  organist  blushed,  and  the  people  dropped  their  heads. 
So  the  eventful  inquiry  was  pressed  no  further. 

"  I  should  like  to  put  those  two  sticks  in  the  stove,"  said  the 
sexton,  as  he  replenished  the  fire  near  the  vestibule. 


3S  CHOIK-SINGING   MADE   RESPECTABLE. 

"  I  don't  believe  the  devil  has  anything  to  do  with  lumber," 
said  an  honest  carpenter. 

The  pastor  "bit  his  lips,"  in  silence.  A  psalm  was  next 
taken  up  by  the  choir,  when  the  accompanist  poured  forth  such 
a  perfect  deluge  of  sound,  as  convinced  every  one  of  his  defi- 
ciency in  judgment. 

Mr.  Flourish  took  his  seat.  He  determined  not  to  select 
anything  from  the  opera.  He  imagined  that  sacred  music 
would  be  more  popular.  So,  with  all  the  stops  of  the  instru- 
ment drawn  out,  he  played  for  a  voluntary,  in  a  rapid  though 
clumsy  manner,  one  of  the  most  popular  of  Mozart's  choruses. 

"  A  fine  piece  of  music,"  said  the  pastor. 

"  It  is  by  the  great  Mozart,  sir." 

"  From  his  twelfth  mass,  I  presume." 

';  Yes,  sir,  from  his  '  Gloria  in  Excelsis.' " 

"  Those  words — '  Glory  be  to  God  on  high,  and  on  earth 
peace,  good-will  to  men,'  form  indeed  a  noble  theme !" 

The  people  were  confounded.  The  pastor  had  lately  preach- 
ed from  that  text,  a  lovely  gospel  sermon,  all  unlike  the  hurry 
and  clamor  of  such  loud  instrumentation.  The  music,  though 
masterly,  seemed  boisterous  rather  than  devotional.  The  play- 
er next  requested  the  choir  and  congregation  to  sing  "  Old  Hun- 
dred." Here  was  some  evidence  of  good  taste.  But  when 
the  singers  were  "  well  under  way,"  he  began  to  show  off  his 
wonderful  skill  in  variations,  such  as  are  sometimes  heard  in 
the  churches  of  Germany.  He  grew  faster  and  faster,  and  took 
such  untold  liberties  with  that  simple  tune,  that  no  one  could 
follow  him  or  understand  his  object.  The  people  shook  their 
heads  in  disapprobation. 

"  Rightly  named  '  Mr.  Flourish !'  "  said  one  in  a  whisper. 

"  Does  he  call  that '  Old  Hundred  V  "  said  Deacon  Staidman. 
"  He  might  as  well  have  given  us  c  Yankee  Doodle !' " 


CHOIR-SDsGING   MADE   RESPECTABLE.  39 

The  people  all  grew  weary,  and  wondered  why  the  pastor 
had  such  a  patient,  satisfied  look.  The  truth  was.  the  two  can- 
didates had  "  used  themselves  up,*'  and  would  now  be  out  of 
his  way.  It  mattered  little  to  him  what  became  of  the  rest  of 
the  evening.  His  people  were  receiving  a  good  lesson.  The 
ensuing  Sabbath  saw  his  favorite  candidate  at  the  organ.  He 
was  a  man  of  good  sense  as  well  as  of  practical  skill.  All 
were  pleased  with  him.  His  services  were  secured.  Through 
the  divine  blessing  upon  his  efforts,  in  connection  with  those  of 
the  pastor  and  the  chorister,  the  former  happy  influences  were 
soon  restored.  Thenceforward,  the  pastor  and  the  church  sym- 
pathized more  strongly  with  those  who  were  sustaining  the  ex- 
ercises of  praise,  and  were  never  afterwards  known  to  leave 
them  entirelv  to  their  own  direction. 


VI. 

MERE  SKILL  UNSUCCESSFUL- 

"  Know  then  thyself,  thy  evil  as  well  as  thy  good— flattery  shall  not  harm  thee." 

TUPFER. 

"  Why  is  it,"  said  one  of  the  singers  to  another,  while  pass- 
ing out  of  the  brick  church  of  the  pleasant  parish  of  F , 

"  why  is  it  that  professors  of  religion  care  so  little  for  sacred 
music]" 

"  Really,  I  cannot  tell." 

"Persons  who  pretend  to  be  religious,  ought  to  care  for  it." 

"  Certainly." 

"  Yet  nothing  we  sing  seems  to  move  them." 

"  If  we  sung  in  such  a  sleepy,  dull  manner  as  many  choirs 
do,  the  people  would  have  some  excuse." 

"  But  our  singing  is  excellent." 

"  The  people  know  that  it  is  good." 

"  Then  why  don't  they  feel  its  power  .*" 

"  The  truth  is,  they  have  no  taste." 

"  But  taste  is  a  faculty  which  depends  on  practice  and  obser- 
vation.    They  ought  to  acquire  taste." 

"  Make  them  believe  that,  if  you  can." 

"  They  will  have  their  own  way  of  thinking." 

"  They  are  very  inexcusable,  /  think." 

"  Can  they  be  true  Christians  V 


MERE  SKILL   UNSUCCESSFUL.  41 

"  The  same  question  has  sometimes  occurred  to  me." 

"  ft  is  very  strange  that  we,  who  do  not  pretend  to  be  relig- 
ious, should  have  to  do  all  the  singing." 

"  And  that  others  should  seldom  commend  or  encourage  us. 
I  wonder  whether  they  would  miss  us,  if  we  were  to  abandon 
our  seats." 

The  two  individuals  expressed  the  feeling  which  prevailed 
among  their  associates.  There  was  some  ground  for  dissatis- 
faction. The  church  Mere  too  indifferent  to  the  singing.  This 
general  deficiency,  however,  was  the  natural  result  of  a  want 
of  just  information.  They  knew  too  little  of  the  whole  subject, 
rightly  to  estimate  their  duty  respecting  it,  or  to  appreciate  the 
loss  of  privilege  they  were  actually  sustaining.  They  had 
been  led  to  entertain  notions  which  were  fundamentally  er- 
roneous. 

But  the  complainants  were  equally  in  the  wrong.  They  were 
would-be  amateurs.  They  sung  for  pleasure ;  and  psalmody 
supplied  the  means  of  gratification.  Yet  they  were  deficient  in 
self-knowledge.  They  were  endeavoring  to  perform  "  an  im- 
portant duty,"  and  one  which  "  professors  of  religion"  were 
"  treating  with  inexcusable  neglect."  They  were  giving  a  lesson 
to  Christians  which  ought  to  have  influence  upon  them.  Yet 
they  seemed  to  be  laboring  in  vain.  The  pastor,  to  lessen  the 
dissatisfaction,  would  sometimes  express  his  obligations  to  the 
singers,  in  a  manner  which  was  no  disparagement  to  their  self- 
esteem.  For  he  too  had  wrong  notions  of  the  subject ;  and 
evidently  anticipated  but  little  result  from  the  customary  offer- 
ings of  praise. 

The  singing,  artistically  considered,  was  excellent.  Its  style 
was  remarkable  for  energy  and  promptness.  The  adaptation 
was  skilful,  and  the  utterance  was  "  effective."  Much  attention 
was  paid  to  dynamic  distinctions.     Emotion  also  was  occasion- 


42  MERE   SKILL   UNSUCCESSFUL. 

ally  manifest.     Yet  the  influences  were  of  an  imaginative  char- 
acter, which 

"  Play  round  the  head,  but  come  not  near  the  heart." 

This  choir  had  been  instructed  from  time  to  time  by  a  vocal- 
ist, who  was  a  companionable  fellow,  fond  of  good  society,  and 
pleasing  in  his  address.  As  he  visited  among  the  people,  he 
would  reward  their  hospitality  with  humorous  anecdotes  and 
comic  songs.  He  abhorred  vice,  respected  religion,  and  was  an 
advocate  of  "sound  principles."  But  he  was  a  man  of  the 
world.  His  pupils  were  quite  taken  by  his  playful  humor,  and 
would  sometimes  tempt  him  to  the  indulgence  of  it  in  school- 
hours.  The  dignity  of  church-music  was  thus  lowered  in  their 
estimation  ;  and  all  ideas  of  its  solemnity  were  banished  from 
their  minds. 

We  need  not  wonder,  that  singing-schools  thus  conducted 
were  found  to  have  an  unfavorable  tendency  ;  or  that  their  in- 
fluence was  dreaded  by  the  church  and  pastor.  The  wonder  is, 
that  the  latter  did  not  endeavor  to  improve  their  character. 
They  pursued,  it  seems,  the  opposite  course,  leaving  the  sing- 
ers wholly  to  themselves.  Lukewarm  professors  were  more 
attentive.  Many  of  them  were  wont  to  rehearse  in  their  fam- 
ilies the  merry  pranks  they  used  to  play  at  singing-schools. 
Their  children,  greatly  amused,  would  become  emulous  of  sim- 
ilar achievements ;  and  the  teacher,  good-natured  soul,  would 
often  pretend  not  to  see  their  comicalities,  lest  the  hand  of  dis- 
cipline should  spoil  the  enjoyment.  In  other  respects,  his  schools 
were  orderly.  The  pupils  made  substantial  improvement ;  but 
they  were  never  remarkable  for  gravity  of  deportment. 

The  result  of  such  training  might  have  been  foreseen.  The 
mind  was  irresistibly  led  by  it  to  entertain  low  ideas  of  respon- 
sibility.    Formality  in  praise  became  habitual ;  and  religious 


MERE   SKILL    UNSUCCESSFUL.  43 

obligations  in  this  connection,  never  being  inculcated,  would  of 
course  be  kept  out  of  mind. 

But  we  must  look  more  deeply  into  the  nature  of  the  case 
before  us.  There  was,  underlying  this  entire  system  of  man- 
agement, a  great  fundamental  error  in  theory.  The  singers 
were  full  believers  in  musical  efficiency.  "  There  must  be 
something  divine  in  the  art  itself,"  they  said,  "  or  it  would 
never  be  reckoned  as  an  important  part  of  devotion."  This, 
at  that  time,  was  the  popular  idea.  Its  absurdity  might  easily 
have  been  shown  ;  for  if  we  were  to  adopt  it  as  a  sound  prin- 
ciple, the  inference  would  inevitably  follow,  that  men  destitute 
of  religion  may  be  regarded  as  real  worshippers.  But,  as  the 
people  made  no  pretensions  to  musical  knowledge,  the  mon- 
strous heresy  escaped  their  notice.  The  singers  supposed,  that 
if  the  music  was  artistically  sustained,  it  would  work  out  its 
own  religious  results.  The  music,  therefore,  was  the  chief  ob- 
ject of  attention.  It  was  treated  just  as  if  it  had  some  inher- 
ent virtue,  which  must  be  "  brought  out  by  skilful"  appliances. 
This  was  the  very  idea  wrhich  the  teacher  inculcated,  and  nei- 
ther the  choir,  the  people,  nor  the  pastor  thought  of  questioning 
its  soundness.  It  was  natural,  therefore,  that  great  stress  should 
be  laid  on  the  possession  of  talent ;  and  as  little  of  this  wras 
found  in  the  bosom  of  the  church,  recourse  was  had  to  the  con- 
gregation. 

The  choir  had  no  objections  to  this  responsibility.  They 
thought  it  in  some  sense  meritorious.  Though  not  Christians 
at  heart,  they  were  "  doing  a  noble  service,  which  ought  to  call 
forth  the  gratitude  of  the  church ;"  and  the  cold  indifference 
with  which  their  efforts  were  rewarded,  wTas  a  constant  source 
of  dissatisfaction. 

But  the  question  might  well  have  been  asked,  whether  the 
fancied  virtue  of  the   music  was  really  eliminated  1     Neither 


44  MERE   SKILL   UNSUCCESSFUL. 

the  church  nor  the  congregation  were  sensible  of  its  presence. 
They  felt  nothing  of  its  power.  The  singing  gave  a  fair  exhi- 
bition of  talent.  It  was  skilful.  It  was  lively  and  bold.  Yet 
it  wanted  solemnity.  It  failed  to  touch  the  springs  of  pious 
susceptibility.  This  filled  the  listeners  with  doubt.  Was  it 
not  possible,  after  all,  that  the  influence  of  music  had  been 
overrated  1  There  might  be  more  poetry  than  truth  in  the  pre- 
tensions of  the  art.  At  least  it  required  powers  of  discern- 
ment in  the  listener,  which  few  were  found  to  possess,  before 
its  boasted  effects  could  be  realized.  As  this  special  apprecia- 
tion had  always  been  wanting,  the  people  were  persuaded  that 
church  music  could  not  be  very  serviceable  to  them.  As  indi- 
viduals, each  one  felt  excused  in  neglecting  it.  The  pastor  was 
"  no  lover  of  music ;"  "  all  tunes  were  alike  to  him."  "No- 
thing," he  would  say,  "  is  perfect  in  this  world."  The  singing 
is  thought  to  be  good.  Music  is  a  difficult  art.  For  all  that 
had  been  gained,  he  said,  the  choir  had  laid  the  society  under 
great  obligations.  Few  persons  could  excel  in  music.  He 
was  not  among  the  favored  ones,  and  could  spend  his  time  more 
usefully  than  to  attend  the  schools.  The  choir  were  not  satis- 
fied with  this  apology  for  neglect,  for  they  knew  how  much 
could  be  achieved  by  cultivation.  But  as  he  had  put  such  a 
plaster  upon  their  consciences,  they  managed  to  retain  their 
self-esteem,  and  continued  from  year  to  year  their  offerings  of 
lip-service,  as  useful  to  the  pastor  and  the  church,  and  not  dis- 
pleasing they  imagined,  to  the  Master  of  Assemblies. 

The  case  we  have  here  presented  is  one  which  not  unfre- 
quently  occurs  at  the  present  day.  The  worship  is  conducted 
confessedly  on  the  principle  of  musical  efficiency.  No  wonder 
it  fails.  It  is  heartless.  The  music  is  often  ill-conceived,  and 
destitute  of  right  expression.  This  is  manifest  by  the  very 
instinctive  tones  of  emotion.     One  who  has  a   discriminating 


MERE   SKILL   UNSUCCESSFUL.  45 

ear,  will  easily  recognize  in  such  performances  the  emphasis  of 
boasting,  irony,  vexation,  &c,  where  those  of  a  tender,  subdued 
character  are  demanded ;  and  their  effect,  even  where  the  dis- 
covery is  not  made,  has  a  deadening  influence  upon  devotion. 
It  affords  at  best  a  gratification  of  taste,  which  is  found  to  be  a 
miserable  substitute  for  spirituality. 

The  position  thus  taken,  as  we  have  seen,  is  an  erroneous 
one.  It  will  not  bear  examination.  Music,  as  an  art,  has  no 
such  inherent  efficiency,  as  many  will  pretend.  Its  moral  e£ 
fects,  like  those  of  oratory,  depend  more  upon  the  purposes  and 
intentions  of  the  artist,  than  upon  the  nicer  appliances  of  skill. 
The  latter  should  not  be  under-valued  or  neglected.  But  they 
will  never  do  the  office-work  of  the  blessed  Sanctifier.  The 
supposition  would  be  impious  as  false. 

It  should  be  remembered,  too,  that  musical  talent  is  never 
acquired  without  practice.  Let  Christians  take  in  hand  the 
work  of  cultivation,  and  in  a  little  time  there  will  be  no  lack 
of  talent  among  their  numbers.  Let  schools  and  rehearsals  be 
rightly  conducted,  and  their  influence  need  no  longer  be  feared. 


VII. 

WANT  OF  CO-OPERATION. 

"  Our  doubts  are  traitors, 
And  make  us  lose  the  good  we  all  might  win, 
By  fearing  to  attempt.1'— Shakspeark. 

The  good  people  of  the  parish  of  E ,  entertained  notions 

of  musical  efficiency  which  were  vague  and  fallacious.  They 
imagined  that  nature  was  very  sparing  in  dispensing  her  mu- 
sical gifts,  especially  in  that  place.  No  individual  among  them 
had  ever  attained  to  eminence  in  the  art.  Few  among  profess- 
ors of  religion  had  gained  sufficient  knowledge  to  enable  them 
to  "  start  the  tune,"  in  social  meetings.  That  task  usually  de- 
volved on  a  venerable  deacon,  whose  voice  had  gone  to  decay, 
and  whose  memory  through  age,  had  become  so  treacherous,  as 
to  mingle  the  strains  of  different  tunes  in  the  same  stanza.  He 
would  run  from  Mear  to  Dundee,  and  from  Dundee  to  Want- 
age, without  any  suspicion  of  mistake.  But  the  brethren  were 
so  accustomed  to  his  manner,  as  to  follow  him  with  little  diffi- 
culty. At  church,  however,  there  was  a  different  arrangement. 
The  interest  had  long  been  confided  to  individuals  who,  though 
religiously  educated,  had  made  no  pretensions  to  personal  piety. 
The  church  might  at  first  have  lamented  the  imagined  necessity 
of  such  a  measure  ;  for  after  all  their  ideas  of  musical  potency, 
and  of  native  deficiency,  they  must  have  thought  it  singular 


WANT  OF  COOPERATION.  47 

that  none  of  the  friends  of  God  were  to  become  active  in  the 
public  celebration  of  his  praise.  Yet,  as  nothing  better  seemed 
to  offer,  they  became  accustomed  to  the  arrangement,  and  re-' 
garded  it  as  a  matter  of  course. 

The  choir,  consisting  chiefly  of  young  persons,  maintained  for 
awhile  great  regularity  of  deportment,  and  made  creditable 
proficiency  in  skill.  At  length  they  became  ambitious  to  excel, 
and  soon  embraced  here  and  there  among  their  numbers  an  in- 
dividual who,  as  Gregory  the  Great  would  have  said,  "  was 
more  distinguished  for  his  voice  than  for  his  precepts  or  his 
morals."  The  practice  was  winked  at  for  a  season,  because  it 
made  "  a  wonderful  difference  in  the  music."  But  its  disastrous 
tendencies  soon  became  manifest  in  the  altered  deportment  of 
the  choir.  The  change  attracted  the  notice  of  the  congregation, 
and  became  the  subject  of  remark.  But  as  the  music  was  ad- 
mired, the  singers  began  to  feel  their  independence.  Matters 
grew  worse.  Some  of  the  more  conscientious  members  left 
their  seats,  while  those  who  were  less  scrupulous  had  the  man- 
agement to  themselves.  They  heard  of  the  dissatisfaction,  but 
gave  it  no  heed.  The  people  had  better  be  attending  to  their 
own  devotions,  they  said,  than  to  be  watching  for  sins  in  the 
gallery.  The  choir  were  "  under  no  obligations  to  them."  If 
the  people  chose  to  be  dissatisfied,  they  might  come  up  and  sus- 
tain the  music  in  their  own  way. 

The  people  were  in  a  dilemma.  What  was  to  be  done  ?  It 
would  not  answer  to  displease  the  singers,  much  less  to  disband 
them,  for  individuals  could  not  be  found  to  supply  their  place. 
The  singing  would  be  ruined  by  the  adoption  of  any  decisive 
measure.  Nothing  remained,  therefore,  but  patient  endurance. 
There  were  indeed  no  decisive  outbreakings  of  immorality  to 
be  seen.  But  there  was  just  that  aspect  of  thoughtlessness  and 
inattention  to  the  exercises  of  devotion,  and  that  look  of  play- 


48  WANT  OF  CO-OPERATION. 

fulness  and  irreverence  which  were  unbecoming  in  the  house  of 
God,  especially  in  the  persons  of  those  who  were  to  lead  in  the 
exercises  of  praise.  Probably,  too,  there  was  more  behind  the 
curtain  which  did  not  meet  the  public  eye. 

But  in  the  midst  of  this  disquietude,  the  chorister  removed 
to  a  neighboring  village.  And  now,  an  individual  in  the  church, 
a  person  of  great  worth,  had  been  sufficiently  qualified  to  as- 
sume the  direction.  The  new  incumbent  was  a  man  of  sound 
sense,  quick  discernment,  patient  temper,  and  pleasing  address. 
A  salary  was  no  object  to  him,  and  though  his  musical  acquire- 
ments were  rather  limited,  he  was  not  deficient  in  taste,  or  in 
his  knowledge  of  adaptation.  The  reasons  for  his  election  were 
no  secret,  and  the  singers  felt  that  their  rights  were  invaded. 
They  respected  the  man  for  his  position  in  society,  and  his  con- 
ciliatory manners.  They  might  even  have  been  flattered  by 
the  condescensions  of  such  a  man.  But  he  had  come  to  "  abridge 
their  liberties"  He  would  watch  their  deportment,  check  their 
improprieties,  restrain  their  whisperings  and  scribblings,  and 
detect  their  secret  mischiefs.  He  had  taken  the  situation  for 
this  very  purpose,  and  the  congregation  would  carry  their  point, 
unless  he  could  be  induced  to  resign.  It  would  not  answer  to 
commence  open  warfare.  But  while  they  treated  him  with 
seeming  respect,  they  were  careful  to  let  him  feel  in  some  meas- 
ure his  musical  deficiencies.  This  would  be  trying  to  any  man 
of  delicacy.  He  felt  it  keenly,  and  it  augmented  his  embar- 
rassment. His  talents  would  have  well  sustained  him  if  he 
had  been  rightly  treated,  and  even  as  it  was,  they  were  fast  im- 
proving. But  the  singers  caught  at  every  mistake,  magnified 
his  deficiencies,  and  made  up  their  minds  that  he  would  soon 
become  disheartened.  But  they  mistook  their  man.  Pie  was 
not  wanting  in  courage  or  assiduity.  He  understood  them  from 
the  first  moment  of  their  opposition.     He  saw  their  duplicity, 


WANT  OF   CO-OPERATIOX.  49 

and  knew  of  their  secret  insinuations  against  him  among  the 
people.  Yet  he  determined  for  the  present  to  bear  all,  and 
keep  his  own  counsel  till  a  more  suitable  time  for  action.  They 
said  he  was  a  good  man,  but  a  poor  chorister.  What  a  pity  he 
had  not  more  talent !  He  was  so  very  moderate  in  his  move- 
ments. He  had  not  sufficient  self-possession  or  firmness  of 
nerve.  Then  he  was  severe  in  reference  to  their  deportment. 
They  did  not  need  to  be  treated  like  children,  who  could  not  be 
left  to  their  own  guidance.     They  were  capable  of  self-direction. 

All  this  was  known  to  him,  but  he  kept  his  secret  so  well 
that  they  felt  perfectly  secure.  They  increased  their  duplicity ; 
became  more  orderly  and  polite  and  attentive.  Meanwhile, 
their  whisperings  of  dissatisfaction  increased  for  months,  and 
spread  wide  among  the  congregation.  It  was  now  time  for  a 
disclosure. 

One  evening,  at  a  rehearsal,  when  the  singers  appeared  un- 
commonly kind  and  respectful,  he  began  in  a  dignified  but 
quiet  manner  to  lift  the  veil,  that  they  might  discover  how  per- 
fectly he  understood  them.  His  manner  was  gentle.  He  told 
all.  But,  while  he  kept  nothing  back,  he  uttered  not  a  reproach- 
ful word.  He  even  apologized  for  their  ill-treatment  as  far  as 
truth  would  allow.  He  spoke  with  entire  self-command  ; 
showed  no  disposition  to  wound  their  feelings  ;  and  even  men- 
tioned circumstances  of  extenuation,  with  a  spirit  of  meekness 
and  magnanimity  which  they  never  could  have  anticipated. 
They  were  confounded.  They  looked  guilty  and  ashamed. 
Their  own  conduct  stared  them  in  the  face.  They  had  never 
before  regarded  it  in  such  a  disadvantageous  point  of  light. 
Very  little  could  be  said  in  reply.  But  their  speaking  counte- 
nances betokened  regret ;  and  he  frankly  forgave  them  the  in- 
jury they  had  inflicted  upon  him.  This,  in  their  circumstances, 
was  a  sensible  relief.    He  closed  the  evening  with  a  fervent,  af- 


50  WANT  OF  CO-OPERATION. 

fectionate  prayer ;  and  for  a  few  weeks,  there  was  no  farther 
disquietude.  The  singers  were  temporarily  subdued,  and  the 
music  improved  more  visibly. 

Then  was  the  time  for  the  pastor  and  people  to  strengthen 
the  hands  of  the  chorister.  They  should  have  attended  the  re- 
hearsals and  shown  a  kind  interest  in  the  performances.  The 
influence  would  have  been  salutary.  Just  that  kind  of  encour- 
agement was  wanting,  to  give  permanence  to  the  existing  im- 
pressions. A  multitude  of  examples  were  cited,  to  show  the 
importance  of  the  proposed  movement ;  but  to  no  purpose. 
The  pastor  thought  himself  too  ignorant  of  that  subject  to  ren- 
der any  effectual  assistance ;  and  leading  members  of  the  church 
could  not  think  of  forming  new  musical  habits.  No  one  would 
comply  with  his  wishes,  and  he  must  be  left  to  stand  the  con- 
flict alone.  Had  the  case  been  otherwise,  an  entire  and  per- 
manent victory  would  doubtless  then  have  been  achieved  ;  for 
a  partial  conviction  of  a  salutary  nature  was  resting  upon  the 
minds  of  the  singers,  which  might,  by  the  blessing  of  God,  have 
been  easily  deepened  and  perpetuated. 

But,  at  length,  since  the  known  wishes  of  the  chorister  were 
not  seconded  in  this  matter,  the  singers  began  to  imagine  that 
their  former  insinuations  had  taken  effect,  and  that  if  the  choris- 
ter could  not  succeed  in  obtaining  the  countenance  and  co-oper- 
ation of  the  church,  he  must  be  gradually  losing  his  influence. 
Time  had  now  cast  a  shadow  of  alleviation  over  their  late  de- 
linquency ;  and  self-esteem  was  fast  healing  the  wounds  of  con- 
science. Another  effort  of  the  choir,  better  directed,  would 
probably  be  crowned  with  success. 

A  few  of  the  leading  singers  held  a  private  consultation. 
Their  plan  must  be  secret.  One  thing  they  could  easily  do, 
and  keep  their  own  counsel.  They  could,  by  negligence  of  ex- 
ecution, soon  cause  the  singing  to  decline ;  and  this  would  seem 


WAISTT   OF   CO-OPERATION.  51 

to  prove  that  their  former  insinuations  of  incompetency  in  the 
leader  had  been  well  founded.  This  device  was  mean-spirited 
and  cruel.  But  to  the  depraved  heart  of  man,  self-justification 
and  freedom  from  religious  restraint  are  no  trifling  considera- 
tions. Only  a  few  of  the  singers  were  in  the  secret.  Yet,  at 
the  very  next  rehearsal,  the  movement  was  sufficiently  manifest 
to  the  penetrating  eye  of  the  chorister. 

Again  he  appealed  to  the  pastor  and  brethren  for  help.  Now 
was  the  only  time.  What  he  required  would  doubtless  ensure 
success.  Everything  as  yet  was  favorable ;  but  all  would  be 
hazarded  by  delay.  The  appeal  was  useless.  Importunity  was 
in  vain.  "  When  I  was  a  student  in  divinity,"  said  the  pastor, 
"  my  venerable  preceptor  enjoined  it  upon  me,  as  I  regarded 
my  usefulness  among  the  people  of  my  charge,  to  have  nothing 
to  do  with  the  singing ;  and,  knowing  as  little  as  I  do  about  the 
subject,  I  have  thought  it  best  to  act  upon  this  advice."  "  Sing- 
ing is  very  liable  to  make  trouble.  Perhaps  it  is  well  for  me 
and  for  the  people,  that  my  taste  is  not  very  refined."  The 
brethren  respected  the  views  of  their  pastor.  They  also  were 
not  singers.  They  could  be  of  no  service,  if  they  were  to 
attend  the  rehearsals.  It  would  be  dull  business  for  them  to 
sit  and  listen  to  an  evening's  drill.  They  would  take  no  inter- 
est in  it,  if  they  were  to  go.  They  were  sorry  for  the  trouble 
which  had  occurred ;  and  sympathized  with  him  in  his  perplexi- 
ties. He  must  be  "  a  man  of  wonderful  patience,"  or  he  "  would 
long  ago  have  yielded  to  discouragement."  He  was  engaged  in 
a  "hard  conflict,"  and  in  the  end  would  "probably  be  defeat 
ed."  Perhaps,  if  things  continued  as  they  were,  it  might  on 
the  whole  be  advisable  for  him  to  resign.  The  singers  had 
"  received  a  good  lesson  ;"  and  "  if  now  left  to  themselves, 
they  would  conduct  with  more  propriety." 

Thus  deserted  in  every  exigency,  and  when  a  little  assistance 


5S  WXR1   OF   CO-OPERATION. 

would  have  insured  success,  he  saw  that  it  would  be  useless  to 
persever:-.     H>  He  would  wait  a  little 

season,  till  matters  should  become  ripe  for  another  disclosure  ; 
and  then,  at  the  close  of  another  ingenuous,  kind-hearted  appeal, 
notify  the  choir  of  his  purpose  of  leaving  them.  The  music 
continued  rapidly  to  decline  :  and  as  the  seemed  to  :   _ 

the  circumstance,  the  co:._     _  sua     ::on  of  the  real 

cause.     Manv  of  th  —  not  in  the  -  Their  re- 

gret  was  sincere,  and  the  people  naturally  sympathized 
them. 

At  length,  on  a  favorable  _    when  the  rehearsal  from 

some  cause  had  been  uncommonly  pleasant,  he  again  signified 
to  the       .     -  1  perfect".  rsl  od  their  late  move- 

ment from  the  very   evening  of  its  commencement.      "The 
~  -knew  nothing  of  it.     Your 

co-operation  was  not  needed.     A  few  determined  - 
had  leading  ~.   could  easily  cause  the  performar 

deteriorate  without  any  very  apparent  design."     That  there 
had  been  such  a  conspiracy  among  them  he  was  fully  prepared 
guilty  ones  quailed  b<::  -netrating  eye. 

Their  entire  mischief  stood  revealed.     Others,  too.  he   said, 
must  have  made  a  similar  discovery,  and  been  willing  to 
the  design.     A_  s»  sing  blushes  around  him.     Yet 

his  entire  manner  was  calm,  dignified,  and  eon  He 

employed  no  harsh  epithets.     He  indulged  in  no  innuer. 
personalities.     If  the  gnfll  stood  revealed,  it  was  through 

wn  confusion  of  deportment.     He  indulged  in  no  feelings 
of  bitterness,     8    far  as  him-  mcerned,  he  could  :. 

forgive  the  injury  which  had  been  inflicted*  They  well  knew 
that  he  had  deserved  no  such  treatment  from  them,  and  that 
their  entire  course  had  been  wrong.  They  were  perfectly  aware 
that  '  n  w^l  sustained.     If  some  of 


WANT   OF   CO-OPERATION".  53 

their  number  had  intentionally  injured  the  performances  and 
others  had  sided  with  them,  they  must  bear  the  blame.  He 
had  no  wish  to  reproach  them.  He  could  bear  such  treatment. 
Comparatively  speaking,  it  was  not  worthy  of  being  named — 
but  they  had  offended  against  the  majesty  of  heaven,  and  he 
trembled  for  them,  in  view  of  a  coming  tribunal.  He  should 
now  leave  them  to  their  own  direction — but  from  his  inmost 
soul  he  pitied  their  blindness  to  the  solemn  responsibilities 
which  were  resting  upon  them.  He  was  in  earnest.  They  saw 
the  tear  of  compassion  standing  in  his  eye,  when  he  besought 
them  as  they  regarded  their  eternal  interests,  to  look  well  to 
the  solemnity  of  their  position. 

There  was  weeping  among  the  singers  on  that  occasion. 
Tears  of  mingled  vexation  and  ingenuous  regret  were  seen  on 
many  a  cheek.  Even  then,  had  the  chorister  been  sustained  by 
the  aid  which  had  been  so  unsuccessfully  solicited,  the  choir 
would  have  been  permanently  reclaimed.  The  kindness  and 
magnanimity  they  had  so  emphatically  abused  would  easily  have 
subdued  their  opposition.  Already  the  work  had  been  nearly 
accomplished  single  handed.  But  there  was  no  prospect  of  help. 
The  idea  that  "  singers  are  always  unmanageable,"  was  too 
firmly  fixed  in  the  public  mind  for  any  change  of  policy. 

The  singers  took  quiet  possession  of  the  field.  For  awhile 
they  were  grave  and  regular  in  their  deportment.  They  had 
disgraced  themselves,  and  were  heartily  ashamed  of  the  course 
which  had  been  pursued.  But  time  is  a  wonderful  healer.  It 
was  not  long  before  self-justification  began  to  rally.  They  had 
"  intended  no  real  harm."  They  had  struggled  only  to  regain 
their  former  independence — and  in  this,  after  all,  they  "  must 
have  managed  with  a  good  deal  of  adroitness."  The  people 
were  evidently  in  their  favor,  and  would  offer  no  further  inter- 
ference.    Years  passed  on  with  little  variety  of  incident.     An 


54  WANT  OF  CO-OPERATION. 

outward  reform  had  been  established — but  the  songs  of  Zion,  so 
far,  at  least,  as  the  choir  were  concerned,  continued  to  be  an 
empty  sound,  and  an  unmeaning  ceremony. 

How  evident  it  is  from  the  preceding  sketch,  that  the  praises 
of  the  sanctuary  need  the  active  encouragement  and  co-opera- 
tion of  the  church  and  pastor !  If  talent  and  taste  are  wanting 
for  such  a  purpose,  it  should  be  remembered  that  even  this  de- 
ficiency may  be  supplied  by  a  little  care  and  industry.  For 
all  the  purposes  here  required,  the  gifts  of  Nature  have  been 
sufficiently  bountiful.  Nor  is  it  true  that  "singers  will  be 
always  unmanageable."  Let  them  be  rightly  trained  in  spirit, 
as  well  as  in  manner,  and  the  force  of  that  proverb  will  soon 
be  done  away. 


VIII. 

CULTURE  AXD  COMIOS  SEXSE. 

*  Occasion  tells  him  what  to  do." 

New  towns  in  some  of  the  Western  States  have  sprung  up 
with  a  rapidity  almost  magical.  Such  at  least  is  the  impression 
they  make  upon  the  occasional  visitor.  Amid  the  foot-prints 
of  a  lone  wilderness,  you  discover  perhaps  a  few  rude  hamlets 
on  either  side  of  some  noble  stream,  bridged  by  huge  unhewn 
timbers  and  loose  planks  ;  but  soon  you  behold  there  a  place 
of  commerce,  of  industry,  of  learning  and  refinement,  till  it 
becomes  one  of  the  most  important  locations  in  the  surround- 
ing territory.  Religious  institutions  will  sometimes  keep  pace 
with  the  teeming  population. 

The  town  of  F ,  was  one  of  those  favored  places.     A 

church  was  easily  formed,  and  placed  under  the  care  of  a  faith- 
ful pastor.  He  laid  a  good  foundation  for  his  successors  to 
build  upon,  and  was  called  into  another  field.  The  congrega- 
tion had  greatly  prospered  under  his  ministry,  and  the  town 
had  acquired  a  dense  population.  The  second  pastor  was  equal- 
ly faithful,  and  a  man  of  greater  learning  and  refinement. 
Though  fond  of  music,  he  was  an  indifferent  singer.  He  knew 
little  of  the  rules  of  the  art,  and  still  less  of  the  unfortunate 
maxims  respecting  it  which  have  operated  so  perniciously  upon 


56  CULTURE  AND   COMMON  SENSE. 

the  public  mind.  He  thought  for  himself,  and  with  the  Bible 
open  before  him,  he  discovered  that  the  office  of  praise  was  not 
well  sustained.  Something  therefore  was  to  be  done.  The 
idea  that  this  was  no  concern  of  his  never  occurred  to  him. 
His  mind  was  unsophisticated.  Preaching,  exhortation,  prayer 
and  praise,  all  religious  exercises  established  by  the  same  au- 
thority, lie  equally  under  the  eye  of  the  spiritual  watchman  ; 
and  why  should  he  treat  any  one  of  them  with  disregard? 
Still,  he  would  not  act  precipitately.  "  Taste,"  he  said,  "  is 
not  a  plant  of  rapid  growth.  Even  ill-habits  may  be  too  sud- 
denly invaded.     The  people  need  information." 

He  procured  with  difficulty  a  skilful  teacher ;  and  found  no 
obstacle  in  the  way  of  establishing  a  school.  Few  teachers  at 
that  time  were  distinguished  for  skill,  and  the  numbers  were 
still  smaller  who  gave  decided  evidence  of  piety.  The  individ- 
ual now  employed,  though  not  a  professor  of  religion,  was  a 
man  of  tried  morals.  He  was  decidedly  conscientious.  True, 
he  was  an  artist ;  and  music,  as  one  of  the  arts,  might  be  taught 
like  painting  and  sculpture,  irrespective  of  moral  or  religious 
considerations.  But  the  demands  of  psalmody  are  peculiar. 
"  Words  of  the  most  solemn  nature  are  to  be  taken  in  hand," 
said  the  pastor,  "  and  we  must  treat  them  with  becoming  rev- 
erence." "  It  is  not  enough  merely  to  acquire  a  knowledge  of 
music ;  we  must  cultivate  the  true  spirit  of  praise."  The 
teacher  saw  at  a  glance  the  importance  of  this  distinction.  He 
felt  embarrassed.  The  pastor  was  right ;  but  what  was  to  be 
done  ?  What  could  an  unconverted  man  do  towards  promot- 
ing a  heart-felt  spirit  of  praise  1 

A  German  pantheist  would  have  readily  excused  himself 
from  such  responsibilities.  "  God  is  in  art,"  he  would  say, 
"  and  he  who  successfully  devotes  himself  to  art,  must  of  neces- 
sity be  a  true  worshipper."     But  the  teacher  had  never  imag- 


CULTURE  AND  COMMON  SENSE.  57 

ined  such  a  species  of  idolatry.  His  mind  had  never  been  mis- 
led by  "  philosophy  falsely  so  called."  He  was  troubled.  He 
ought  to  have  been  troubled.  Yet  he  saw  certain  things  which 
appeared  practicable.  His  own  deportment  would  be  uniform- 
ly grave.  He  would  preserve  the  strictest  order  among  his 
pupils.  Sacred  subjects  would  always  be  treated  with  rever- 
ence. Exercises  in  vocal  delivery  would  generally  be  founded 
in  unimportant  or  hackneyed  stanzas  ;  and  where  stanzas  of  a 
more  solemn  nature  were  to  be  taken  in  hand,  he  would  be 
careful  not  to  load  them  with  artistic  associations.  Here  was 
an  essential  point  gained. 

Some  teachers  would  here  have  accused  him  of  needless  scru- 
pulosity. But  he  was  too  well  educated  not  to  understand  the 
important  bearings  of  such  a  course.  Right  mental  associations 
are  important  in  every  department  of  music  ;  and  more  espe- 
cially so  where  moral  and  religious  interests  are  involved. 

The  school  greatly  prospered.  It  was  soon  joined  by  several 
professors  of  religion,  while  others  became  frequent  visitors. 
The  exercises  of  the  evening  were  often  opened  or  closed  with 
prayer.  Still  the  training  was  incomplete.  Another  element 
was  wanting.  Many  observed  such  an  improvement  in  the 
manner  of  teaching  as  to  be  greatly  pleased.  They  saw  not 
that  anything  further  could  be  needed.  Even  the  pastor  seem- 
ed satisfied.  Not  so  the  teacher.  He  saw  distinctly  that  if 
singers  are  to  become  actual  worshippers  at  church,  they  must 
learn  at  school  how  to  fix  their  minds  unwaveringly  upon  di- 
vine things.  This  principle,  so  commonly  overlooked  by  the 
best  of  men,  stood  out  before  him  in  strong  relief,  as  an  inevit- 
able inference  from  the  premises  which  the  pastor  had  supplied. 
But  he  was  in  a  dilemma.  To  speak  of  the  principle  without 
reducing  it  to  practice,  would  be  merely  to  advertise  his  own 
deficiencies.     Yet,  to  pretend  even  in  song  to  be  a  personal 


58  CULTURE  AND   COMMON  SENSE. 

worshipper,  would  be  inconsistent  for  an  unconverted  man.  It 
would  be  mere  hypocrisy.  He  could  not  think  of  it  for  a  mo- 
ment. 

The  pastor  while  visiting  the  school,  would  sometimes  speak 
of  the  spirit  of  praise.  He  would  kindly  caution  the  pupils 
against  the  usual  practice  of  singing  sacred  words  in  an  unmean- 
ing manner.  The  Master  of  Assemblies  would  never  accept 
of  lip-service.  It  would  be  offensive  to  him.  "  How,  for  ex- 
ample," said  he,  "  can  singers  in  the  practice-room  use  such 
words  as  those  of  the  hundred  and  third  Psalm,  and  put  forth 
no  real  expressions  of  a  grateful  heart."  In  his  last  remark  he 
was  a  little  too  fast,  for  practice  and  criticism  are  sometimes 
necessary  in  connection  with  such  words,  and  the  mind  cannot 
attend  profitably  to  drilling  and  devotion  at  the  same  moment. 
This,  through  the  respectful  suggestion  of  the  teacher,  he  readi- 
ly perceived,  though  some  good  men  are  found  to  make  it  a 
stumbling-block  through  life.  This  is  always  unfortunate,  for 
when  singers  are  exhorted  to  perform  impracticabilities,  they 
are  strongly  tempted  to  neglect  duties  that  are  practicable. 

But  again,  it  occurred  to  the  pastor  that  there  might  be  oc- 
casional exercises  of  praise  in  the  school.  Why  should  not 
real  praise  be  offered  there  as  well  as  earnest  prayer  1  The 
suggestion  was  a  sensible  relief  to  the  teacher,  for  it  would  vir- 
tually supply  what  was  yet  wanting  in  his  own  course  of  in- 
structions. The  pastor  did  not  fully  apprehend  the  importance 
of  the  measure  proposed.  Nor  did  it  cost  him  much  time  or 
effort.  Occasionally  dropping  in  while  on  his  way  to  some  ap- 
pointment, he  would  request  before  leaving,  that  a  particular 
hymn  might  be  sung,  some  of  the  lines  of  which,  he  would 
recite  in  a  tone  of  devotional  feeling  which  told  volumes  on  the 
solemnity  of  sacred  praise.  There  was  then  no  drilling,  because 
the  mind  was  understood  to  assume  the  devotional  attitude. 


CULTURE   AND   COMMON   SENSE.  59 

The  brief  exercise  was  often  attended  with  deep  solemnity. 
Those  were  golden  moments.  They  were  full  of  instruction. 
They  were  of  great  use  to  the  pupils,  and  to  the  anxious  teach- 
er. The  pastor  enjoyed  them.  They  refreshed  his  spirit,  and 
better  fitted  him  for  the  subsequent  labors  of  the  evening.  These 
little  visits  threw  a  flood  of  light  upon  practical  distinctions 
which  had  been  so  long  disregarded.  They  were  just  what  the 
pupils  needed  to  fit  them  for  the  holy  solemnities  of  public  wor- 
ship. Upon  many  hearts  they  left  an  indelible  impression,  and 
the  teacher  himself  in  after  years  would  refer  to  them  as  among 
the  instrumentalities  which  ultimately  led  to  his  own  conver- 
sion. 

A  pleasing  work  of  grace  ensued.  Several  of  the  pupils 
whose  hearts  were  put  in  tune  by  sweeter  breathings  than  those 
of  human  minstrelsy,  took  great  delight  in  exercises  of  praise* 
The  precious  influence  seemed  to  pervade  the  choir  on  the  Sab- 
bath, and  reach  the  hearts  of  the  congregation.  It  was  no  tran- 
sient excitement,  such  as  arises  from  the  gratification  of  taste. 
Mere  musical  impressions  have  sometimes  been  mistaken  for 
better  things.  But  here,  the  great  themes  of  salvation  were 
rendered  doubly  impressive  by  the  pleasing,  heart-felt,  consen- 
taneous utterances  which  they  thus  received.  The  singing  at 
church  had  ceased  to  be  an  unmeaning  ceremony.  It  was  not 
a  mere  preparative  to  devotion.  It  was  "devotion  itself," 
breathing  from  heart  to  heart,  through  the  solemn  assembly. 

The  pastor  always  regarded  that  school  as  greatly  instru- 
mental in  the  promotion  of  the  revival.  Soon  after  its  termi- 
nation, he  was  called  to  other  fields  of  labor.  The  real  import- 
ance of  the  peculiarities  of  that  school  was  not  understood 
either  by  pastor  or  people.  Other  counsels,  therefore,  have  occa- 
sionally prevailed.  But  the  influence  of  that  school  is  still  vis- 
ible now,  after  the  lapse  of  thirty  years.     The  singing  for  the 


60  CULTUEE  AND   COMMON   SENSE. 

most  part  has  been  impressive,  and  there  has  been  a  remark- 
able freedom  from  those  troubles  which  so  often  arise  where 
taste  has  excluded  spirituality.  Taste  itself  has  not  been  under- 
valued. No  limits  have  been  assigned  to  the  amount  of  skill, 
or  to  the  increase  of  refinement.  The  great  problem  has  been 
to  secure  right  musical  culture  in  connection  with  a  right  spirit. 
The  example  of  successful  effort  was  not  lost  upon  the  surround- 
ing churches. 

Here  was  an  instructive  experiment.  A  small  measure  of 
musical  talent  in  the  ministry  turned  to  the  best  account.  This 
was  effected,  not  by  superior  wisdom  or  foresight,  but  by  fol- 
lowing plain  common  sense  views  of  duty,  obtained  directly 
from  the  teachings  of  inspiration.  No  doubt  ministerial  labors 
are  sufficiently  abundant  and  severe.  But  here  was  an  exam- 
ple of  effort  so  bestowed  as  to  prove  a  mitigation  of  ministerial 
care,  and  a  rich  solace  for  mental  fatigue  and  bodily  prostration. 
Such  efforts  may  generally  be  put  forth  without  embarrass- 
ment, and  by  the  blessing  of  God  they  will  not  be  in  vain. 


IX 

A  CHOIR  REBUKED,  OFFEXDED  AXD  RECLAIMED 

''Music  hath  charms  alone  for  peaceful  minds."— Anon. 

In  the  large  congregation  over  which  the  Rev.  Doctor  Oldman 
presided,  the  power  of  influence  in  minor  things  was  about 
equally  divided  between  pastor  and  people.  Each  of  the  par- 
ties was  in  the  habit  of  relinquishing  certain  interests  or  priv- 
ileges for  the  purpose  of  securing  others  which  were  more 
esteemed.  The  habit  sometimes  extended  to  matters  of  much 
importance.  One  of  the  things  which  the  Doctor  relinquished 
in  this  style  of  accommodation,  was  church  music.  He  was  no 
singer.  He  had  no  ear  for  music.  He  cared  little  for  the  art. 
"  Music,"  said  he,  "  may  be  useful  in  its  place,  but  my  people 
will  of  course  never  become  artists.  If  they  so  manage  as  to 
satisfy  themselves,  my  purpose  will  be  answered." 

The  interests  of  the  choir  had  been  so  long  confided  to  the 
young,  that  the  latter  had  come  to  look  upon  the  privilege  as  a 
prescriptive  right.  They  were  wont  to  employ  their  own 
teacher,  expecting  the  trustees  to  foot  the  bill.  They  would 
appoint  their  own  chorister.  Instruction,  too,  was  often  limited 
and  superficial,  confined  chiefly  to  their  own  numbers,  with  little 
benefit  to  the  people  at  large.  This  for  a  long  time  had  been 
considered  their  privilege.     But  the  tone  of  independence  was 


increasing.  They  knew  their  own  power.  Their  services  were 
indispensable ;  for  no  other  persons  had  acquired  any  amount 
of  musical  skill.  All  the  wants  of  the  choir,  therefore,  real  or 
imaginary,  must  be  amply  supplied.  They  must  have  an  in- 
creasing variety  of  books,  nicely  bound  and  lettered.  They 
must  have  seats,  and  cushions,  and  stands,  and  chairs,  and  cur- 
tains, and  lamps,  and  footstools,  all  in  the  nicest  order.  They 
must  be  allowed  to  give  concerts  at  their  own  convenience  ;  and 
no  other  appointment  must  be  suffered  to  conflict  with  theirs. 

This  at  length  began  to  excite  feelings  of  dissatisfaction  among 
the  people.  The  singers  were  quite  too  exacting.  They  claimed 
everything.  One  privilege  was  left,  that  of  fault-finding.  The 
congregation  could  censure  their  prodigality  in  expenditures,  and 
complain  of  the  character  of  their  performances.  This  privilege 
was  freely  exercised.  The  singers  resented  such  treatment,  and 
thus  the  dissatisfaction  became  mutual.  The  music,  without 
any  artistic  deterioration,  was  gradually  losing  its  power.  The 
violation  of  social  sympathies  and  feelings  is  as  inconsistent  with 
the  pleasures  of  taste,  as  with  the  kindling  of  devotion.  Wor- 
ship had  become  formal.  Many  regretted  this  state  of  things. 
The  deacons  complained.  They  perceived  no  good  effects  from 
the  singing.  It  was  "  a  perfect  moth"  to  them.  The  people 
could  not  listen  to  it  with  any  comfort.  It  caused  their  thoughts 
to  wander,  and  made  them  out  of  patience.  All  sympathy  be- 
tween the  parties  was  at  an  end.  The  exercises  were  sustained 
by  the  choir  for  their  own  gratification,  and  endorsed  by  the 
people  as  a  useless  burden. 

And  what  a  substitute  was  this  for  united,  solemn  thanksgiv- 
ing and  praise !  Who  can  compute  the  amount  of  injury 
thus  inflicted  upon  the  cause  of  evangelical  piety  in  that  place ! 
The  singers  were  not  worshippers.  The  church  were  grieved. 
Right  affections  would  not  come  at  the  bidding  of  such  a  choir. 


OFFENDED  AND    RECLAIMED.  62 

Feelings  of  penitence,  and  love,  and  gratitude,  and  adoration, 
were  rather  repressed  than  cherished  by  the  performances. 

The  pastor  saw  the  aspect  of  things.  He  sympathized  with 
the  people,  hut  was  unwilling  to  oppose  the  singers.  This  was 
a  subject  with  reference  to  which  he  had  "  assumed  little  respon- 
sibility." Such  difficulties  were  apt  to  arise.  There  was  a  call 
for  mutual  forbearance.  As  music  had  no  interest  to  him,  he 
could  abstract  his  attention  from  it,  and  feel  no  interruption. 
But  in  the  exercises  of  the  desk  his  uneasiness  was  often  mani- 
fest. He  would  unconsciously  read  the  hymn  in  a  drawling 
manner,  as  if  expecting  no  benefit  from  it — and  then  sit  down 
to  busy  himself  in  correcting  his  MSS.,  or  reading  notices  till 
the  singing  was  over.  In  this  course  he  felt  "  fully  justified." 
Why  should  his  attention  be  wasted  upon  that  which  he  could 
neither  appreciate  nor  enjoy  ? 

Such  a  conspicuous  example  from  the  pulpit,  however,  would 
be  likely  to  find  imitators  where  there  was  not  the  same  excuse 
for  inattention.  The  singers  understood  this  demonstration  of 
indifference,  and  became  in  their  turn  inattentive  to  the  Preacher. 
During  the  sermon  and  the  prayers  they  would  sometimes  be 
whispering  as  others  had  done  during  the  singing.  They  would 
turn  over  the  leaves  of  their  music-books,  or  be  scribbling  on 
slips  of  paper,  as  if  retaliating  the  slight  they  had  suffered  from 
the  desk.  This  was  perfectly  natural.  It  might  have  been  ex- 
pected. But  it  surprised  the  pastor.  That  the  license  might 
have  been  borrowed  from  his  own  example,  was  an  idea  which 
never  occurred  to  him.  It  was  not  real  praise  but  the  abuse  of 
it,  which  had  rendered  him  inattentive ;  but  to  the  mind  of  the 
singers,  he  had  furnished  a  plausible  pretext.  "  It  could  not  be 
a  sin  to  imitate  their  pastor !" 

Another  step  in  wickedness  was  not  without  its  results.  The 
singers  began  to  provoke  each  other  to  the  indulgence  of  levity 


64 

and  playfulness.  The  thing  was  done  in  plain  view  of  the  con- 
gregation. It  was  too  much.  It  was  insufferable.  The  pastor 
felt  that  he  had  a  duty  to  do.  The  singers  were  intentionally 
wicked.  He  would  not  stoop  to  converse  with  them  in  private. 
A  public  sin  should  be  rebuked  in  public.  He  could  not  tamper 
with  such  ungodliness.  So  from  the  pulpit  he  suddenly  broke 
forth  in  terms  of  severe  and  merited  censure. 

The  singers  immediately  left  their  seats.  That  was  a  thing 
of  course.  The  pastor  should  have  expected  it,  though  it  took 
him  rather  by  surprise.  Certainly  it  was  his  duty  to  rebuke 
sin.  He  had  done  so  with  becoming  boldness — and  here  was 
the  result.  What  next  1  "  Must  the  singers  be  urged  to  return 
to  their  seats  ?"  "  Not  without  an  acknowledgment  of  their 
transgression."  No  acknowledgment  was  offered.  But  there 
was  a  resource  for  the  exigency.  The  old  people  who  could 
once  sing  well,  but  whose  voices  had  miserably  decayed  through 
long  neglect  of  practice,  must  nowi;ake  their  places  in  the  choir. 
The  experiment,  after  a  sufficient  amount  of  drilling,  might  have 
easily  succeeded.  The  necessity  of  such  preparation  did  not 
occur  to  them.  They  went  up,  like  Sampson  of  old  when  his 
locks  were  shorn,  quite  unconscious  of  the  change  which  had 
passed  upon  them.  Numbers  were  respectable ;  but  O,  what 
singing !  Who  could  have  believed  it !  They  could  scarcely 
endure  their  own  voices.  But,  to  see  the  members  of  the  late 
choir,  instead  of  hanging  their  heads  in  mortification,  actually 
amused  at  the  failure  of  the  old  people — to  see  them  winking 
and  smiling,  at  the  expense  of  their  betters,  in  presence  of  the 
assembly ;  this  was  more  than  could  be  patiently  endured. 

On  the  next  Sabbath  came  an  experiment  in  congregational 
singing.  This,  if  the  members  of  the  former  choir  had  fully 
co-operated,  might  for  awhile  have  given  satisfaction.  The 
voices  of  the  people  would  have  been  partially  harmonized, 


OFFENDED  AND   RECLAIMED.  65 

there  would  have  been  more  sympathetic  emotion,  and  more 
spirituality,  in  the  exercises.  But  the  individuals  who  had  been 
publicly  rebuked  for  their  ungodliness,  sat  in  sullen  silence. 
They  were  mortified  and  angry,  but  not  penitent.  They  were 
opposed  to  the  arrangement.  It  greatly  disturbed  them.  They 
could  not  foresee  where  it  was  to  end,  or  whether  they  would 
ever  be  invited  to  resume  their  seats.  Some  grew  discouraged, 
and  absented  themselves  from  church.  Others  would  sit  in 
some  retired  corner.  All  refused  to  sing,  in  the  expectation 
that  the  experiment  would  the  sooner  fail. 

There  was  more  real  unanimity  among  the  people  at  this 
time,  than  might  have  been  anticipated.  There  was  no  open 
contention.  The  subject  was  not  deemed  of  sufficient  import- 
ance to  hazard  the  peace  of  society.  Each  party,  it  was  true, 
had  felt  aggrieved  ;  but,  while  looking  for  ultimate  redress,  no- 
thing could  be  gained  by  causing  divisions.  Both  parties,  too, 
were  becoming  weary  of  the  strife,  and  longed  to  see  it  termi- 
nated. The  singing  was  bad.  Some  of  the  congregation  who 
had  no  ear  for  music  were  satisfied  with  the  change.  Some 
who  had  neglected  their  privilege  for  years,  now  poured  forth 
such  noises  as  are  not  easily  described.  Some  would  seem  to 
sing  from  feelings  of  vexation,  and  some  in  self-defence.  A  few 
happy  spirits,  who  were  destitute  of  susceptibility,  seemed  the 
only  ones  who  enjoyed  the  singing  as  a  religious  exercise.  This 
state  of  things  was  dreadful.  It  must  have  been  dimly  appre- 
hended, or  it  would  not  for  an  hour  have  been  tolerated.  There 
was  a  great  want  of  information  among  the  people,  which  no- 
thing served  to  supply. 

After  a  few  weeks'  trial,  the  experiment  was  abandoned. 
Congregational  singing,  without  instruction  or  practice,  or  effi- 
cient aid  from  an  instrument,  from  a  select  quartet  or  a  vol- 
untary choir,  would  scarcely  be  tolerable  at  the  outset,  while  it 


66 

would  soon  be  found  to  depreciate  to  the  lowest  possible  level. 
Before  it  had  thus  far  declined  in  the  present  instance,  a  con- 
sultation was  held.  Matters  had  been  carried  too  far.  Meas- 
ures had  been  hasty  and  premature.  To  some  extent,  there  had 
been  blame  on  both  sides.  The  young  people  were  "  ashamed 
of  their  former  wickedness."  They  had  had  time  for  reflection, 
and  would  improve  in  their  behavior.  They  must  be  persuad- 
ed to  resume  their  seats.  A  committee  of  influential  men,  who 
had  stood  aloof  from  the  difficulties,  consented  to  act  as  medi- 
ators. How  much  they  blamed  or  flattered  the  singers,  or  cen- 
sured or  justified  the  proceedings  which  had  offended  them,  was 
not  exactly  known.  The  important  mission  was  soon  accom- 
plished, and  the  young  people  were  restored  to  their  former 
standing  and  influence.  Though  at  last  victorious  in  the  con- 
flict, the  struggle  had  been  long  and  unpleasant.  They  had 
suffered  for  their  folly,  and  had  deserved  to  suffer.  Now  they 
determined  to  act  with  more  consideration.  The  people  also 
had  taken  an  impressive  lesson.  They  would  now  be  more 
liberal  and  less  censorious.  Though  they  had  formerly  been 
but  little  benefited  by  the  performances  of  the  choir,  they 
had  seen  the  disadvantage  of  grumbling,  and  were  willing  for 
awhile  to  forbear.  For  a  few  weeks,  everything  was  quiet  and 
in  a  measure  satisfactory.  The  singing  excited  some  attention. 
It  was  thought  to  be  improving.  The  people  spoke  well  of  it, 
and  began  somewhat  to  feel  its  influence  upon  their  devotions. 
But  power  lost  by  misconduct  and  regained  without  penitence 
was  liable  to  be  abused  ;  and  self-government  was  not  a  suffi- 
cient discipline  for  their  youthful  minds.  Once  more,  the  choir 
manifested  their  love  for  independence,  and  began  to  chafe  the 
feelings  of  the  congregation.  They  were  like  a  bark  without  a 
pilot,  or  a  ship  without  compass  or  rudder.  The  uneasiness  was 
increasing,  and  matters  tended  toward  another  crisis. 


OFFENDED   AND   RECLAIMED.  67 

Just  at  this  period,  the  good  pastor,  who  was  a  man  of  dis- 
tinguished acquirements,  was  called  to  the  presidency  of  a  liter- 
ary institution.  His  successor.  Mr.  Youngman,  was  a  clergy- 
man who  loved  the  praises  of  Zion,  and  understood  how  to  rem- 
edy the  evils  and  to  provide  for  the  deficiencies  which  had  so  long 
prevailed.  A  more  unpromising  state  of  things  could  seldom 
have  been  met  with,  in  such  a  field  of  labor.  But  he  enter- 
tained no  fears.  The  singers  had  the  common  feelings  of  hu- 
mauity.  and  they  had  a  conscience  which  could  be  enlightened 
and  guided.  To  conciliate  their  good  will  and  gain  their  confi- 
dence, and  open  the  way  for  suitable  instruction  and  timely  ad- 
monition, he  often-  attended  their  weekly  rehearsals,  mingled 
his  voice  in  the  drilling  exercises,  offered  occasional  suggestions, 
and  at  stated  times  led  them  to  the  mercy-seat  in  fervent,  affec- 
tionate prayer.  Several  members  of  the  church  began  to  fol- 
low his  example.  This  was  something  new  and  unexpected. 
TTie  singers  were  gratified  with  this  mark  of  attention.  They 
became  orderly,  docile,  and  thoughtful.  The  pastor  listened 
attentively  to  the  exercises  of  praise  in  the  churcn,  and  the 
choir  listened  to  his  preaching  and  his  prayers.  Their  minds 
by  degrees  became  open  to  convictions  of  duty.  They  began 
in  some  measure  to  understand  the  solemn  nature  of  their  em- 
ployment. At  a  proper  time,  when  things  were  fully  prepared 
for  such  a  step,  he  was  enabled  to  bring  the  subject  of  praise 
before  his  hearers  upon  the  Sabbath,  with  the  happiest  success. 
He  manifested  such  impartiality,  such  tenderness  and  candor, 
and  gave  such  unlooked-for  instructions  and  illustrations,  as  to 
convict  every  one  of  his  hearers  of  personal  delinquency.  The 
preacher  made  no  allusion  to  scenes  which  were  past.  He  could 
not  take  sides  in  the  matter.  But  since  all  had  been  in  the 
wrong,  there  was  no  farther  cause  of  disagreement.  Difficul- 
ties were  at  an  end.     The  pastor  listened  with  increasing  inter- 


68  A  CHOIR  REBUKED. 

est  to  the  performances  of  the  choir,  and  the  singers  listened 
more  closely  to  him.  Many  of  them  became  seriously-minded, 
and  several  appeared  truly  penitent.  A  new  influence  began  to 
be  felt  in  the  assembly.  The  singing  appeared  more  in  keeping 
with  the  general  solemnities  of  the  place.  The  style,  artistical- 
ly speaking,  was  much  the  same  as  before ;  but  feelings  had 
greatly  changed.  Social  sympathies  were  now  united.  Unan- 
imity of  feeling  in  public  worship,  is  as  necessary  in  praise  as 
in  prayer.  This  principle  now  began  to  be  understood.  Praise 
was  comely  and  delightful.  Thenceforward  it  was  regarded  as 
an  important  duty  and  a  precious  privilege. 

What  a  pity  that  the  former  pastor  had  so  little  acquaintance 
with  this  subject !  A  vast  amount  of  sin  and  perplexity  and 
vexation  might  thus  have  been  prevented. 


X. 

m 

OUT  OF  TUNE. 

u  A  little  common  sense  is  a  tremendous  lever  for  the  removal  of  obstacles."— Anon. 

A  fine  church  edifice  was  nearly  completed  in  the  new  and 

thriving  parish  of  H ,  when  an  adult  singing-school  was 

opened  for  the  training  of  a  choir.  There  was  but  little  musical 
talent  in  the  place  ;  yet  in  a  few  short  months,  the  pupils  were 
ready  to  commence  operations.  Arranging  themselves  in  a 
single  row  extending  around  the  three  sides  of  the  gallery,  as 
was  then  the  custom,  they  made  a  very  promising  appearance, 
as  to  numbers  and  respectability.  But  they  were  utterly  un- 
able to  sing  in  tune.  Whatever  mu6io  might  be  selected,  the 
same  result  would  follow.  The  bass  would  sing  a  full  comma 
too  low.  Various  expedients  were  tried  to  no  purpose.  Indi- 
viduals would  change  their  relative  position.     This  was 

"To  change  the  place,  but  keep  the  pain." 

As  all  remedies  had  failed,  the  evil  must  be  endured.  Habits 
of  endurance  are  often  acquired  with  marvellous  facility.  Some 
persons  will  continue  to  amuse  themselves  for  six  months  to- 
gether, by  thrummings  upon  a  crazy  instrument  which  was 
never  in  tune  for  an  hour.  The  ear  becomes  dull  in  the  pro- 
cess, and  the  voice  loses  all  accuracy  of  intonation.  Such  was 
the  result  in  the  present  instance.     The  people  soon  became  ac- 


70  OUT   OF  TUNE. 

customed  to  the  dissonance,  and  regarded  it  as  a  small  matter. 
Of  course  there  was  no  progress  in  taste,  and  skill  in  execution 
was  rapidly  diminishing. 

One  Sabbath,  while  a  chorister  was  leading,  who  had  barely 
sufficient  knowledge  to  give  the  pitch,  the  choir  set  off  together 
with  two  different  tunes,  one  in  the  major  and  the  other  in  the 
minor  scale,  having  no  resemblance  to  each  other  except  in 
rhythm.  The  chorister  led  on  from  stanza  to  stanza,  uncon- 
scious of  the  mistake.  Most  of  the  people  seemed  quiet.  But 
this  dissonance  was  so  inexpressibly  bad,  that  one  of  the  good 
deacons  who  had  once  been  a  singer,  could  contain  himself  no 
longer.  "  You  will  do  better  up  there,"  said  he  to  the  choir, 
"  if  you  all  get  the  same  tune."  "  Sit  down,  sit  down,  deacon," 
cried  a  voice  from  the  desk,  greatly  scandalized  by  such  an  in 
terruption.  "  People  would  not  think  so  much  about  the  music, 
if  they  were  worshipping  with  the  Spirit  and  the  understanding." 

With  such  unpropitious  beginnings,  the  music  in  that  choir 
was  ultimately  placed  upon  a  good  footing,  and  made  greatly 
instrumental  in  the  progress  of  good  taste  and  sound  princi- 
ples. The  difficulty  in  the  intonation  had  been  occasioned  by 
a  wrong  position  of  the  singers.  They  were  too  scattered. 
When  this  fact  was  discovered,  the  choir  by  being  placed  in  a 
body  in  the  end  gallery,  soon  began  to  sing  in  tune.  The 
change  was  delightful.  One  of  the  brethren  of  the  church  took 
pains  to  qualify  himself  for  usefulness  in  this  field  of  labor. 
He  was  a  man  of  some  standing,  and  soon  gained  the  confidence 
and  good-will  of  the  singers.  The  singing  constantly  improved, 
till  it  became  as  remarkable  for  its  excellence  as  it  had  been 
for  its  harshness  and  rusticity. 

How  important  is  intelligence  in  the  cultivation  of  church 
music !  The  difficulty  in  the  arrangement  of  the  choir,  whicli 
operated  for  years,  might  have  been  obviated  at  once. 


XI. 

UNACCEPTABLE  IMPROVEMENTS. 

"Innovation  is  expedient  when  it  remedies  an  evil,  and  safe  when  men  are  prepared 
to  receive  it." — Noah  Webster. 

The  beautiful  town  of  K ,  surrounded  with  smiling  val- 
leys and  lofty  hills,  with  a  small  river  winding  through  its  en- 
virons, was  sixty  years  ago  an  unbroken  wilderness.  Its  first 
inhabitants  were  hard  laboring  agriculturists  from  New  Eng- 
land. They  were  not  distinguished  for  learning  or  information, 
but  were  remarkable  for  their  love  of  religious  order,  and  sound 
evangelical  doctrine.  Among  the  number  was  the  venerable 
deacon  Aimwell,  whose  memory,  notwithstanding  some  small 
imperfections  which  attended  him,  is  still  cherished  with  sincere 
affection.  He  had  been  chosen  to  office  not  on  account  of 
wealth  or  worldly  wisdom,  of  which  he  had  little,  but  on  the  no- 
bler ground  of  his  attainments  in  piety.  The  church  regarded 
him  as  having  made  remarkable  progress  in  the  divine  life,  and  for 
this  reason  as  the  fittest  person  for  deacon.  Had  he  not  been  natu- 
rally of  a  modest  disposition,  this  circumstance  which  could 
not  be  hidden  from  him,  might  possibly  have  inflated  him  with 
spiritual  pride.  As  it  was,  that  impertinent  intruder  would 
sometimes  press  so  vehemently  at  his  door,  as  with  great  diffi- 
culty to  be  debarred  admittance ;  and  now  and  then,  despite 
the  deacon's  efforts,  it  would  contrive  to  slip  in  unperceived. 


72  UNACCEPTABLE   IMPROVEMENTS. 

Pride,  the  deacon  said,  was  an  evil  thing.  He  loathed  it.  But 
Christian  dignity  was  indispensable  to  one's  usefulness,  and 
should  always  be  maintained.  He  had  naturally  a  good  mind. 
But  as  his  views  had  never  been  expanded  by  education,  they 
were  narrow  and  limited.  He  knew  little  of  polemic  theology 
beyond  the  detail  of  its  current  technicalities ;  but  he  had  a 
great  veneration  for  sound  words,  and  would  watch  with  solicit- 
ude the  language  of  every  itinerant  preacher  who  officiated. 
At  length  the  infant  church  was  supplied  with  a  young,  talented, 
and  devoted  pastor.  The  deacon  was  of  course  his  overseer. 
After  church,  the  sermon  was  sure  to  be  canvassed.  Every 
novelty  of  expression  would  be  noticed,  and  if  the  pastor  was 
never  caught  in  error,  it  was  no  fault  of  the  deacon.  The  lat- 
ter, however,  was  not  a  suspicious  man.  He  was  watchful  and 
punctilious,  and  when  once  he  had  put  his  foot  down,  there  it 
must  stand,  firm  as  a  rock. 

In  the  days  of  his  childhood,  the  deacon  had  been  a  passable 
singer,  without  a  knowledge  of  rules.  He  had  sung  so  often 
the  counters  to  St.  Martin's,  Aylesbury,  Wantage,  and  other 
tunes  of  the  sort,  that  he  could  never  forget  them,  and  if  a  note 
was  ever  changed,  it  seemed  to  him  almost  like  altering  a  pass- 
age in  the  Bible. 

Through  the  influence  of  the  pastor,  a  singing-school  was  es- 
tablished, which  resulted  in  the  formation  of  a  choir.  The 
singers  could  not  read  music,  but  they  had  committed  to  mem- 
ory a  class  of  tunes  which  were  then  popular,  such  as  Ocean, 
Sherborne,  Mortality,  and  Sounding- Joy.  These  novelties  were 
anything  but  joyful  sounds  to  the  deacon's  ear.  He  would  give 
more  for  one  stanza  of  St.  Martin's  than  for  the  whole  of  them. 
He  was  a  prudent  man.  He  loved  his  pastor  and  was  silent ; 
yet  many  judged  by  his  sorrowful  looks,  that  the  music  "  was 
no  better  than  it  should  be."     In  this  instance  their  decision 


UNACCEPTABLE  IMPK0VEMEXT3.  73 

was  not  far  from  the  truth.  The  tunes  were  poor,  and  the 
teaching  was  superficial.  Once  in  two  or  three  years,  instruc- 
tion would  be  obtained,  barely  sufficient  to  commit  a  few  addi- 
tional tunes  to  memory,  and  bring  to  mind  some  of  the  forgot- 
ten ones.  But  as  schools  were  never  followed  by  weekly  re- 
hearsals, memory  would  soon  become  treacherous  and  produce 
strange  combinations.  Two  very  different  tunes  would  thus  be 
temporarily  combined,  and  on  one  occasion  the  choir  started 
off  at  full  speed  on  a  quadruple  combination.  There  was  then 
no  want  of  choristers.  Four  individuals  were  appointed  to  lead 
in  rotation.  Forgetting  their  turns,  two  or  more  would  some- 
times speak  together  in  naming  the  tune,  and  then,  if  one  had 
given  a  wrong  pitch,  another  one  would  rise  and  correct  it. 
When  knowledge  was  so  limited,  this  was  doubtless  a  good  ar- 
rangement. Still,  many  sad  blunders  would  occur,  and  a  tune 
would  sometimes  sink  in  forgetfulness  at  the  middle  of  a  stanza. 
On  one  occasion,  while  singing  a  long  hymn,  the  harmony  at 
the  close  of  every  stanza,  as  a  printer  might  say,  u  would  fall 
into  pi,"  requiring  the  pitch  to  be  given  anew.  At  length  the 
chorister,  greatly  tried  with  such  failures,  made  his  speech  to 
those  in  the  opposite  side  gallery — ,;  Ladies,"  said  he,  ;;  you 
lose  the  pitch.  Sing  softer,  and  perhaps  you  will  succeed." 
They  obeyed,  but  to  no  purpose.  So  the  rest  of  the  hymn  was 
omitted.  Such  disasters  were  discouraging.  The  deacon  re- 
monstrated. What  use  was  there  in  singing-schools  ?  The 
music  was  "  continually  growing  worse."  Most  of  the  people 
were  of  the  deacon's  mind.  So  the  evils  which  had  been  occa- 
sioned by  deficient  instruction  were  now  to  be  remedied  by  neg- 
lect. 

At  length  a  literary  institution  was  established  in  the  place, 
one  of  the  results  of  which,  was  an  accession  of  musical  talent. 
The  late  selections  of  psalmody  were  considered  as  in  bad  taste. 

i 


74  UNACCEPTABLE    IMPROVEMENTS. 

The  old  tunes  must  be  reinstated.  The  deacon  rejoiced  prema- 
turely, for  now  he  was  to  be  more  grieved  than  before.  The 
old  tunes  had  received  grammatical  corrections  and  changes  in 
the  harmony,  which  in  the  progress  of  refinement  had  become 
indispensable.  All  this  in  his  view  was  needless  innovation. 
Somebody  had  done  wickedly.  The  old  counters  he  used  to 
sing  with  so  much  delight,  could  no  longer  be  recognized.  An 
explanation  was  offered,  but  it  came  too  late.  The  deacon  had 
set  down  his  foot,  and  arguments  were  of  no  avail.  He  was  a 
kind-hearted  man.  He  did  not  wish  to  make  trouble.  But  he 
could  not  help  feeling  "  unhappy  about  the  singing,"  and  the 
people  at  large,  when  they  beheld  those  sorrowful  looks  in  the 
deacon's  seat,  were  disposed  to  decide  with  him  that  the  choir 
were  in  fault.  The  latter,  perceiving  no  prospect  of  giving  sat- 
isfaction, concluded  to  do  what  seemed  to  be  right,  and  to  be 
content  with  pleasing  themselves.  There  was  no  wrangling,  or 
back-biting.  The  parties  were  friends  and  fellow-worshippers. 
The  choir  were  conscientious  in  maintaining  their  own  views, 
and  the  people,  accustomed  to  endurance,  submitted  in  a  spirit 
of  quiet  indifference. 

A  still  greater  change  was  at  hand.  A  few  families  began 
the  study  of  church  music  in  good  earnest,  and  soon  made  rapid 
advances  in  the  art.  The  choir  was  remodeled  and  trained  to 
an  unwonted  degree  of  skill  in  execution.  All  of  a  sudden,  the 
style  of  selections  was  entirely  changed.  The  step  from  St. 
Martin's  and  Aylesbury,  to  Denmark,  Easter,  and  the  Hallelu- 
jah Chorus,  with  psalmody  of  a  corresponding  character,  was 
prodigious.  No  wonder  the  congregation  were  in  the  dim 
distance  behind.  The  music  was  "  Greek"  to  them.  The  sing- 
ers could  enjoy  it,  because  it  exercised  their  skill  and  improved 
their  talents.  But  what  was  this  to  the  worshippers  at  large  1 
Most  of  them  had  no  knowledge  of  the  art,  and  cared  not  to 


UNACCEPTABLE   IMPROVEMENTS.  75 

■witness  in  the  sanctuary,  any  display  of  its  achievements.  But 
they  had  learned  forbearance.  When  the  performances  were 
inflicted  upon  them,  they  endured  as  if  pained  with  a  tooth-ache 
which  would  soon  be  over.  But  a  few  who  had  been  better 
educated,  soon  began  to  speak  highly  of  the  music,  and  such 
commendations  served  to  keep  the  choir  in  countenance,  while 
they  pressed  onward  to  greater  achievements,  which  would  be 
equally  lost  upon  the  mass  of  worshippers. 

A  question  here  arises,  which  is  of  some  practical  importance. 
Why  was  it,  that  during  this  long  period,  the  parties  avoided 
all  out-breakings  of  strife  ?  One  reason  was,  that  the  people  of 
the  choir  and  the  congregation  loved  each  other,  and  were  dis- 
posed to  make  every  possible  allowance  for  dissimilarity  of 
views.  Another  reason  was,  that  the  differences  were  supposed 
to  have  their  origin  in  physical  Nature.  Music  was  regarded 
as  a  natural  gift,  to  be  cultivated  only  by  the  favored  few  who 
should  possess  the  requisite  capabilities.  To  the  lest  of  the 
world  it  would  become  comparatively  useless.  The  choir  pitied 
the  deacon  and  most  of  the  congregation,  for  remarkable  defi- 
ciencies of  ear  and  voice ;  and  they  on  their  part,  were  half  per- 
suaded that  the  choir  had  been  very  patient  in  view  of  such 
infirmities.  A  third  reason  was,  that  from  the  first,  wrong  views 
had  been  entertained  of  the  practical  influence  of  church  music. 
All  that  the  deacon  knew,  was.  that  when  it  made  him  "  feel 
good,"  he  liked  it :  and  the  people  were  generally  of  his  mind. 

But  there  is  a  question  of  still  greater  interest.  Why  was 
it  that  the  music  had,  at  all  times,  so  little  influence  ?  One 
reason  was,  that  for  a  term  of  years  it  was  very  poor.  If  the 
singers  had  understood  notation,  they  might  have  kept  up  their 
weekly  rehearsals,  and  given  better  performances.  Another 
reason  was,  the  people  paid  no  attention  to  the  subject.  Though 
all  have  sufficient  natural  gifts  for  the  purpose  here  contem- 


76  UNACCEPTABLE   IMPROVEMENTS. 

plated,  these  gifts  will  never  be  available  if  wholly  neglected. 
Taste  thrives  only  by  practice  and  observation.  But  a  third 
reason,  and  perhaps  the  most  influential  one,  was,  tha.t  the  choir 
never  properly  consulted  the  actual  state  of  musical  conception 
among  the  people.  In  their  course  of  refinement  they  should 
have  descended  to  the  level  of  the  apprehension  of  the  wor- 
shippers, and  led  them  onward  step  by  step,  just  as  they  could 
have  borne  it,  and  not  by  such  sudden  changes,  and  large  gra- 
dations, as  to  render  themselves  continually  unintelligible.  This 
kind  of  condescension  is  one  of  the  last  things  that  ever  strikes 
the  mind  of  an  amateur  choir.  "  The  people  ought  to  be  pleased 
with  such  music  as  we  give  them,"  they  are  ready  to  say,  "  and 
if  they  choose  to  be  stupid  the  fault  is  their  own."  This  plea 
might  be  more  to  the  purpose  in  concert  rooms,  where  the  ob- 
ject is  amusement — but  those  who  lead  in  public  devotion, 
whether  in  speech  or  song,  an  apostle  himself  being  judge,  are 
bound  to  commend  themselves  to  the  feelings  and  apprehen- 
sions of  their  hearers.  We  are  not  saying  that  condescension 
should  stoop  to  musical  vulgarity.  At  present,  certainly,  there 
can  be  no  such  necessity.  A  large  catalogue  of  current  tunes, 
which  are  distinguished  for  chaste  simplicity,  is  before  us.  We 
can  select  from  these,  such  as  will  best  correspond  with  the 
habits  of  the  worshippers,  and  endeavor  to  sing  them  in  the  true 
manner  and  spirit  of  praise.  In  this  way,  the  whole  class  of 
Aimwells  will  be  interested.  Then  we  can  lead  onward  in 
better  selections,  so  gently,  as  to  carry  with  us  the  kind  suscep- 
tibilities of  the  congregation. 


Xii. 

A  BOISTEROUS  LEADEE. 

"  Rend,  with  tremendous  sound,  your  ears  asunder, 
With  gun,  drum,  trumpet,  blunderbus  and  thunder." — Pope. 

The  late  Mr.  K ,  of  precious  memory,  -was  distinguished 

as  a  literary  man,  a  philanthropist,  and  a  Christian.  His  influ- 
ence was  widely  extended  and  beneficial.  His  private  virtues 
were  not  less  remarkable  than  his  public  benefactions.  His 
habits  of  conversation  evinced  much  versatility  of  thought  and 
feeling.  He  was  fond  of  humor  and  pleasantry ;  and  at  the 
same  time,  tenderly  alive  to  objects  of  sympathy.  His  emo- 
tions were  very  changeable.  He  could  laugh  and  weep  in  the 
compass  of  a  single  paragraph,  and  still  maintain  a  good  meas- 
ure of  self-control.  His  taste  for  music  appears  to  have  been 
modified  by  these  peculiarities  of  temperament.  His  fondness 
for  the  art  was  free  from  favoritisms  and  partialities.  He  had 
no  choice  as  to  composers  or  executants ;  and  would  be  pleased 
with  everything,  from  the  hallowed  anthem  to  the  comic  song. 
Like  many  at  the  present  day,  he  regarded  music  of  all  kinds 
as  essentially  beneficial.  It  was  much  the  same  thing  to  him  at 
church  as  at  a  public  concert.  It  was  a  ;;  kind  of  nerve-soother'' 
which  fitted  his  mind  for  devotion. 

His  children  inherited  his  musical  notions  and  habits,  without 
his  susceptibility.     His  second  son  had  a  voice  of  uncommon 


78  A   BOISTEROUS    LEADER. 

compass  and  power ;  but  he  had  more  appetite  than  taste,  and 
more  zeal  than  discernment.  Everything  pleased  him,  from 
the  double  chorus  of  the  oratorio  down  to  the  songs  of  the 
chimney  sweep ;  and  from  the  grand  symphonies  of  the  mas- 
ters, down  to  the  hurdy-gurdy  and  the  willow-whistle.  He  was 
a  classical  scholar,  and  pursued  music  only  in  hours  of  relaxa- 
tion. 

At  length  he  left  the  place  of  his  nativity,  and  settled  as  a 
professional  man  in  one  of  the  rising  villages  "  of  the  great 
West,"  which  was  destined  soon  to  become  a  large  inland  city. 
There  was  then  so  little  music  in  the  place  that  he  saw  no  legal 
objection  against  lending  a  helping  hand.  At  his  suggestion, 
the  S church  procured  a  powerful  organ ;  and  he  volun- 
teered his  services  as  general  director  of  their  music.  A  man 
of  his  standing  in  community  would  meet  with  few  obstacles. 
He  soon  drew  around  him  a  numerous  and  powerful  choir. 
The  singers  put  on  strength,  and  the  organist  drew  out  his 
stops ;  but  the  voice  of  the  leader  was  a  full  match  for  all. 
He  was  not  to  be  overpowered.  They  were  a  noble  company 
who  occupied  that  place  ;  and  though  their  performances  were 
harsh  and  dissonant,  and  wanting  in  expression,  the  good  peo- 
ple, being  neither  critics  nor  amateurs,  thought  proper  to  be 
satisfied  with  the  style.  If  they  could  not  enjoy  the  music,  it 
must  be  owing  to  their  neglect  of  the  art.  Schools  were  estab- 
lished, and  rehearsals  and  concerts  multiplied.  The  leader  had 
unbounded  influence,  and  everything  was  left  to  his  manage- 
ment. The  schools  were  somewhat  beneficial  to  the  people,  but 
not  to  himself.  His  habits  were  fixed.  To  the  hints  of  a  teach- 
er he  paid  no  more  attention  than  was  indispensable  to  the 
maintenance  of  mere  civility.  His  father  knew  more  than  all 
the  teachers,  and  what  would  he  have  cared  for  such  trifles ! 
Rehearsals,  being  under  his  own  control,  served  to  perpetuate 


A   BOISTEBOUti    LEADER.  79 

the  style  of  the  leader.  As  for  his  concerts,  they  were  often 
filled  with  such  incongruities  as  to  be  very  amusing  He  would 
bring  together  on  those  occasions,  besides  his  own  choir,  ballad- 
singers  of  ail  grades ;  and  as  many  sorts  of  musical  instruments 
as  were  found  of  eld  at  the  dedication  of  Nebuchadnezzar's 
image.  And,  generally,  he  had  little  concern  about  specific  in- 
fluences. As  amusement  was  the  chief  object,  one  thing  was 
about  as  important  as  another. 

On  one  occasion,  for  example,  the  house  was  crowded  by  vil- 
lagers who  were  invited  to  a  concert  of  Sacred  Music.  A  cler- 
gyman opened  the  exercises  by  prayer.  Then  eame  a  merry 
quartet  of  some  ten  minutes'  length,  upon  a  chest  of  viols  whose 
squeaking  sounds  showed  less  of  resin  than  of  flourishes  of  the 
bow.  Next  came  a  psalm,  then  an  anthem,  and  then  a  favorite 
little  Miss  must  sing  a  love  ditty,  and  another  must  accompany 
her  on  a  harp.  Then  came  a  duet  on  horns,  then  an  insipid  bal- 
lad, followed  by  the  hail-stone-chorus,  and  by  another  glee,  and 
another  rude  quartet  of  cat-gut.  Here  was  a  merry  interval 
of  ten  minutes.  Then,  after  a  complimentary  address  from 
the  pulpit — "  Music  hath  charms."  drc,  the  second  part  com- 
menced with  a  grand  military  march  with  wind  instruments,  in 
connection  with  the  tamborine,  the  triangle,  and  the  bass  and 
kettle  drums.  Then  came  several  volunteer  solos,  including 
one  by  the  director,  of  stentorian  energy ;  when,  after  a  glee 
and  another  miserable  ballad,  the  exercises  closed  with  the  Hal- 
lelujah chorus  and  the  benediction.  Such  incongruities  in  selec- 
tions for  concerts  were  ordinary  occurrences. 

Such  a  general  course  of  mismanagement  as  is  here  present- 
ed, would  necessarily  prove  disastrous  to  the  progress  of  taste. 
Streams  cannot  rise  above  their  sources ;  and  in  this  case,  when 
they  came  to  the  height  of  the  leader's  gauge,  they  stood  for 
years  "  upon  a  dead  level.*'     When  the  population  had  increas- 


80  A  BOISTEliOUS    LEADER. 

ed  to  the  dimensions  of  a  city,  other  choirs  were  organized 
whose  performances  were  effective  and  devotional.  But  the 
choir  of  this  church  continued  its  noisy,  tasteless,  hum-drum 
utterances  long  after  the  leader  disappeared.  He  left  his  own 
impress  upon  the  performances,  which  will  probably  continue 
till  the  next  generation.  How  important  is  it  that  effort  should 
be  rightly  directed  !  Choirs  are  often  drilled  when  their  lead 
ers  are  most  in  fault. 


XIII. 

BAD  LOCATION. 

"Give  us  room  that  we  may  dwell." — Kelly. 

The  position  and  the  effective  power  of  singers  are  things  of 
great  importance :  they  are  not  sufficiently  regarded,  either  in 
the  erection  of  edifices  or  the  establishment  of  choirs.  There 
was  a  small  choir  in  one  of  our  large  cities,  that  took  their  sta- 
tion in  a  low  edifice  at  the  remotest  distance  from  the  pulpit. 
As  there  was  no  gallery,  four  or  five  short  slips  near  the  en- 
trance of  the  building  had,  for  the  accommodation  of  the  sing- 
ers, been  elevated  a  few  inches  above  the  general  level.  The 
choir  were  amateur  performers,  who  had  enjoyed  the  best 
advantages  of  instruction.  They  practiced  much,  sung  very 
sweetly  at  rehearsals,  and  enjoyed  each  others  society  as  a  hap- 
py Christian  family  should  do.  They  sung  from  principle,  and 
with  devotional  feeling.  Their  voices,  trained  in  the  parlor, 
were  subdued  and  polished,  rather  than  strong  and  effective. 
But  they  were  exemplary  in  their  deportment,  punctual  in  their 
attendance,  and  unwearied  in  their  efforts  to  please  the  congre- 
gation. But  there  was  one  point  in  which  they  failed.  Instead 
of  their  being  leaders  in  the  exercise,  they  were  led  by  the 
people,  and  nearly  overwhelmed  by  the  confused  jargon  which 
filled  the  house.  Had  their  seats  been  near  the  desk  or  been 
sufficiently  elevated,  or  had  their  numbers  been  enlarged,  or 

4* 


82  BAD   LOCATION. 

had  they  possessed  powers  which  were  strongly  effective,  their 
services  might  have  been  greatly  beneficial.  But  placed  as  they 
were,  and  with  such  powers  as  they  possessed,  they  really  were 
of  no  more  service  to  the  congregation  than  an  ordinary  pre- 
centor under  the  pulpit  would  have  been.  The  choir  were  to 
be  pitied  rather  than  blamed.  The  fault  was  not  their  own — 
and  they  enjoyed,  no  doubt,  the  sweet  consciousness  of  having 
endeavored  to  discharge  their  duty  in  the  fear  of  God. 

Cases  equally  unfortunate  have  often  occurred.  Splendid 
edifices  are  erected  with  ample  accommodations  for  the  people 
at  large ;  while  the  singers,  perhaps,  are  placed  beyond  reach- 
ing distance  in  the  back-ground,  or  posted  aloft  in  some  little 
niche  like  a  sparrow's  nest  as  to  size  and  convenience.  These 
things  ought  not  so  to  be. 


XIV. 

INFLUENCES  RIGHT,  BUT  NOT  PERPETUATED. 

"  And  made  that  music,  which  was  noise  before."— Pope. 

Man  has  sometimes  been  regarded  by  speculative  philoso- 
phers, as  a  mere  "bundle  of  habits."  The  theory,  of  course,  is 
erroneous ;  but  there  are  some  strange  things  in  human  nature 
which  seem  strongly  to  favor  it.  Virtuous  communities,  for 
example,  will  adhere  to  certain  specific  practices,  long  after 
their  immoral  tendency  has  been  discovered.  Objects  of  taste, 
too,  will  often  continue  to  be  cherished,  long  after  they  have 
proved  themselves  to  be  worthless.  We  see  this  everywhere 
in  the  common  affairs  of  life.  But  nowhere,  perhaps,  does  the 
power  of  habit  find  a  fuller  illustration,  than  in  some  of  the  re- 
ligious assemblies  in  large  cities,  where,  for  more  than  a  century 
past,  the  rudest  congregational  singing  has  prevailed. 

The  church  of  K will  serve  as  a  specimen.     Some  thirty 

years  ago,  the  members  of  that  community  had  been  so  long 
accustomed  to  this  method  of  conducting  the  office  of  praise, 
as  to  be  with  difficulty  convinced  of  its  deficiencies.  Nor  could 
they  be  persuaded  that  any  other  method  might  be  preferable. 
Precentors,  one  after  another,  in  unbroken  succession,  had  lead 
in  front  of  the  desk ;  some  of  them  remarkably  ignorant,  and 
others  no  better  than  they  should  have  been,  in  manners  or 
morals.     But  they  were  fair  to  look   upon,  and   famous  for 


84  INFLUENCES  RIGHT, 

vociferation.  They  might  truly  have  been  termed  leaders,  for 
the  congregation  were,  in  point  of  time,  always  at  a  distance 
behind  them  ;  some  nearer,  and  others  more  remote.  Usually, 
at  the  end  of  each  stanza  there  was  a  long  pause,  in  the  front 
ranks,  till  those  in  the  rear  could  have  time  to  "  bring  up,"  and 
be  ready  for  another  start.  Musically  speaking,  there  was 
neither  time,  tone,  nor  tune,  in  the  exercise ;  while  in  reference 
to  language,  there  was  no  articulation,  accent,  emphasis,  or  ex- 
pression. The  utterance  was  rough,  noisy,  drawling,  and  unin- 
telligible. Persons  sitting  side  by  side,  could  not  understand 
each  other.  Could  this  be'  called  singing  ?  Not  a  single  ele- 
ment of  music  or  poetry  was  discoverable  in  the  exercise.  It 
was  mere  discordant  noise.  Yet  with  many  educated  people, 
this  contemptible  jargon  passed  for  tolerable  music.  It  was 
such  as  they  had  been  long  accustomed  to  hear. 

The  exercise  was  also  considered  highly  devotional.  Such  an 
advantage  would  certainly  atone,  they  thought,  for  great  defi- 
ciencies in  manner,  and  go  far  towards  proving  the  inutility  of 
cultivation.  Artistic  influences  are  unfavorable  to  spirituality. 
They  have  often  proved  its  greatest  hinderance.  They  should 
ever  be  regarded  with  Christian  vigilance.     Thus  they  reasoned. 

But  let  us  for  a  moment  fix  our  eyes  upon  such  an  assembly 
as  the  one  we  are  describing.  What  do  we  see  1  All  is  not 
barrenness.  A  few  happy  souls  appear  to  enjoy  the  hymn  as 
it  falls  in  mangled  fragrance  before  them.  We  will  regard  these 
as  sincere  worshippers,  more  or  less  profited  by  the  exercise  of 
their  privilege.  The  rest  of  the  people  are  lounging  or  attend- 
ing to  other  matters.  The  sexton  and  the  deacons  are  disposing 
of  the  "  odds  and  ends  of  things."  And  now,  ere  the  hymn  is 
half  finished,  there  comes  a  sort  of  scoop-net  along  the  seats, 
fishing  for  pennies  !  This  is  not  a  special  occurrence.  Sabbath 
after  Sabbath  the  same  scene  is  presented,  with  little  variation. 


BUT  KOT   PERPETUATED.  85 

Are  these  the  tokens  of  peculiar  devotion  1  What  if  such 
things  were  to  be  done  during  the  exercise  of  social  prayer  1 
Yet  the  argument  in  favor  of  such  a  rude  congregational  meth- 
od, proceeds  on  the  assumption  that  it  is  peculiarly  devotional. 

Thirty  years  ago,  as  we  have  said,  the  method  of  singing  in 

the  church  of  K was  the  congregational  one.     About  that 

period,  a  pastor  was  installed  over  the  people,  who  had  been 
accustomed  to  regard  the  office  of  praise  as  equally  solemn 
with  that  of  prayer.  He  was  a  competent  judge  of  music ;  and 
entertained  views  of  it  which  were  evangelical.  To  him,  the 
jargon  was  insupportable.  But  what  could  he  do  ?  The  peo- 
ple were  so  accustomed  to  it,  as  to  be  strongly  prejudiced  in  its 
favor.  They  were  entirely  satisfied.  They  had  no  idea  of  pro- 
gress ;  and  were  opposed  to  innovation.  He  must,  therefore, 
not  complain  of  the  existing  method,  but  endeavor  gradually  to 
improve  it.  Of  course,  the  people  would  not  consent  to  receive 
instruction.  They  did  not  perceive  its  necessity.  The  singing 
was  about  the  same  as  it  had  been  the  last  half  century,  and 
they  would  find  neither  time  nor  inclination  to  make  it  better. 
All  this  the  discriminating  pastor  saw  at  a  glance.  There 
could  be  no  use  in  disturbing  prejudices  and  notions  which 
were  of  such  long  standing.  But,  "wherever  there  is  a  will 
there  is  a  way."  He  kept  his  own  counsel,  and  went  silently 
at  work,  with  the  expectation  of  success. 

Soon  there  was  found,  sitting  in  her  own  family  pew,  a  few 
steps  from  the  desk,  an  excellent  soprano  singer,  whose  voice 
was  remarkable  at  once  for  sweetness  and  power.  Near  by,  in 
the  same  range,  was  sitting  a  parishioner  whose  well-directed 
and  powerful  utterances  would  cause  the  very  arches  to  trem- 
ble. The  pastor  himself  was  an  excellent  singer  ;  and  just  be- 
fore him  was  a  talented  precentor.  The  four  individuals  were 
sufficiently  fond  of  music  to  be  often  practising  together.    How 


86  INFLUENCES  KIGHT, 

much  of  this  arrangement  was  purely  accidental,  or  the  result 
of  prudent  forecast,  no  one  thought  to  inquire.  But  here  was 
the  advantage  of  a  powerful  quartet,  leading  with  irresistible 
energy,  though  in  an  unpretending  manner,  the  voices  of  the 
assembly.  They  labored  to  good  purpose.  A  gradual  improve- 
ment in  the  exercises  soon  became  manifest.  The  people  be- 
came more  attentive  and  more  devotional.  They  advanced  in 
taste  and  discrimination.  Many,  no  longer  satisfied  with  their 
own  noises,  became  silent  worshippers.  Others  received  pri- 
vate instruction ;  and  others  still,  who  had  some  knowledge  in 
psalmody,  improved  themselves  by  careful  practice.  Then  a 
school  was  opened,  accessible  to  all  who  might  desire  its  advan- 
tages. In  this  gradual,  pleasant  way,  the  manner  of  singing 
became  so  greatly  changed,  as  to  excite  observation  throughout 
the  city,  and  lead  other  churches  to  the  adoption  of  similar  ar- 
rangements. The  change  had  been  so  apparently  incidental, 
that  no  one  felt  displeased  ;  and  prejudices  were  evidently  be- 
ginning to  lose  their  hold  upon  the  people. 

And  now  the  congregation  seem  to  have  been  prepared  for 
instructions  from  the  desk  relative  to  the  solemn  nature  of 
praise.  Such  instructions  were  greatly  needed,  and  no  time 
would  have  been  more  favorable.  The  nature  of  praise  begin- 
ning to  be  better  appreciated  than  it  ever  had  been,  might  now 
have  been  easily  discriminated  from  that  musical  sentimental- 
ity and  artistic  emulation,  which,  in  city  life,  furnish  so  many 
temptations  and  entanglements.  Such  instructions  would  have 
been  a  safe-guard  from  surrounding  dangers,  in  the  onward 
course  of  improvement.  But,  unhappily,  as  the  dangers  were 
not  foreseen,  the  instructions  were  withholden. 

The  pastor  now  found  no  difficulty  in  persuading  his  people 
to  furnish  the  church  with  an  organ.  It  was  an  excellent  instru- 
ment, and  the  performances  were  under  his  general  direction. 


BUT   NOT    PERPETUATED.  tit 

Voluntaries,  preludes,  interludes,  and  accompaniments,  were  all 
chaste,  simple,  and  subdued.  The  effect  thus  far  was  favorable. 
The  people  were  gratified.  The  songs  of  praise  excited  more 
and  more  interest;  and  appeared  to  be  increasingly  devotional. 
The  time  was  drawing  near  when  the  pastor  would  gladly  have 
given  specific  instructions  to  his  people.  This  he  had  fully  pre- 
pared to  do  ;  but  just  then,  his  health  failed  him.  He  sickened 
and  died  ;  and  the  fair  prospects  were  soon  obscured.  He  had 
from  the  first  been  the  life  and  soul  of  the  improvements. 
No  one  else  had  understood  the  secret  springs  of  influence ; 
and  now  artistic  principles  were  destined  to  gain  the  ascen- 
dency. 

The  talented  organist,  no  longer  held  in  check,  began  to  ex- 
hibit increasing  measures  of  skill.  The  change  was  gradual, 
and  it  wrought  insensibly  upon  the  feelings  of  the  people,  till 
he  had  them  in  his  power.  He  was  too  prudent  to  shock  their 
ideas  of  religious  propriety,  and  calculated  for  most  of  his  suc- 
cess on  the  lapse  of  time,  till  habits  could  be  insensibly  formed. 
His  wisdom  and  discernment  were  worthy  of  a  better  object 
than  the  one  he  was  pursuing.  A  few  years  saw  him  at  the 
height  of  his  ambition,  as  sole  director  of  an  artistic  choir, 
whose  performances  had  less  hold  upon  the  Christian  suscepti- 
bilities of  the  people,  than  upon  their  taste  for  display.  Mu- 
sical cultivation  went  onward,  leaving  devotional  influences  in 
the  dim  distance. 

Congregations  in  a  large  city  will  often  greatly  change  after 
the  removal  of  a  beloved  pastor.  Such  was  the  case  in  the 
instance  before  us.  The  present  pastor,  with  no  knowledge  of 
music,  leaves  all  to  the  direction  of  the  organist.  He  is  an  ex- 
cellent talented  man,  but  having  left  this  field  of  effort  in  the 
hands  of  an  ambitious  artist,  the  present  skilful  personations  of 
praise  are  perhaps  even  farther  removed  from  the  ends  of  spir- 


88  INFLUENCES  RIGHT. 

itual  worship,  than  were  the  original  abuses  which  under  the 
former  pastor  had  been  so  happily  removed. 

We  see  from  this  sketch,  that  when  important  improvements 
are  being  established,  the  reasons  for  them  should  not  be  too 
long  delayed.  In  this  case,  as  in  many  others,  a  small  amount 
of  information  would  have  prevented  the  miscarriage. 


XV. 

A    FICKLE    PEOPLE. 

'♦Learn  to  labor  and  to  wait." — Longfellow. 

There  was  a  congregation  in  the  large  inland  town  of  L , 

who  were  remarkable  for  fickleness  in  their  musical  transac- 
tions. Some  features  in  every  arrangement  would  create  dis- 
satisfaction, and  call  for  a  change.  Almost  everything  in  turn 
would  be  tried,  but  not  with  sufficient  thoroughness  to  ensure 
permanent  success.  There  was  a  pleasant-toned  organ  in  the 
church ;  but  its  powers  were  too  limited  to  control  the  voices 
of  the  singers,  which  would  often  be  out  of  tune.  A  choir  of 
some  kind  were  always  in  the  gallery,  but  the  members  and 
the  leaders  were  continually  changing.  Choristers  of  every 
sort  would  be  severally  tried  and  dismissed ;  and  on  one  occa- 
sion the  chorister  chosen  out  of  many  candidates,  found  it  ne- 
cessary to  leave  the  situation  before  his  year  had  expired.  The 
choristers,  too,  would  be  chosen  from  different  musical  cliques, 
whose  interests  were  opposed  to  each  other.  This  would  occa- 
sion corresponding  changes  of  books  and  methods  of  practice  in 
rehearsals — leading  to  those  petty  strifes  and  mortifications 
which,  though  insufficient  to  mar  the  peace  of  society,  were 
great  hinderances  to  the  progress  of  skill  and  refinement. 
The  same  irritability  was  observed  in  musical  committees.  The 
individuals  who  had  the  matter  in  charge  would  go  rashly  for- 


90  A   FICKLE   PEOPLE. 

ward,  nothing  doubting  as  to  their  practical  wisdom ;  but  soon, 
plunging  into  inextricable  difficulties,  would  retire  and  give 
place  to  others,  who,  without  profiting  by  past  experiments, 
would  meet  with  a  similar  defeat. 

The  people  of  the  congregation  became  impatient  with  the 
singers,  but  imagined  themselves  to  be  afflicted  with  a  necessary 
evil.  "Singers,"  they  would  say,  "are  always  restless  and 
irritable — always  prone  to  make  difficulty.  We  must  endeavor 
to  bear  with  them."  The  house  of  worship  would  always  be 
filled  ;  for  it  had  a  fine  location,  and  was  supplied  with  excellent 
preaching.  Yet  so  many  would  be  driven  away  by  the  bad 
singing,  that  the  congregation  were  scarcely  more  stable  than 
were  members  of  the  choir. 

One  might  have  supposed  that,  in  process  of  time,  these  fluc- 
tuations would  have  terminated ;  yet  more  than  fifteen  years 
elapsed  before  the  evidences  of  greater  permanency  appeared. 
And  this  was  in  the  midst  of  an  intelligent,  Christian  popula- 
tion, embracing  several  well-conducted  choirs,  with  no  ordinary 
share  of  musical  skill  and  refinement. 

Now,  how  shall  we  account  for  all  this  instability  1 

In  the  first  place,  the  people  did  not  feel  that  deep  and  de- 
cided interest  in  the  subject  which  would  have  led  them  to 
acquire  the  necessary  practical  knowledge,  and  to  make  pecu- 
niary appropriations  with  sufficient  liberality.  A  wish  to  avoid 
trouble  and  expense,  led,  of  course,  to  the  exercise  of  a  tem- 
porizing policy.  Arrangements,  in  order  to  be  permanent  and 
satisfactory,  must  be  made  with  due  intelligence  and  forecast. 

In  the  second  place,  a  strong,  general,  business-like  idea  of 
the  importance  of  good  music  to  the  prosperity  of  a  congrega- 
tion, led  the  people  to  be  impatient  of  gradual  results.  They 
could  not  wait  for  progressive  maturity.  It  was  supposed  that 
by   some  possible  arrangement,  the   desired   object  could  be 


A   FICKLE    PEOPLE.  91 

speedily  obtained.  But,  since  the  "  ploughman  would  not  be 
overtaken  by  the  reaper,"  that  which  was  beginning  to  put  forth 
leaves  and  blossoms,  must  be  uprooted  to  make  way  for  a  new 
process  of  seeding. 

But  thirdly,  this  subject  had  never  been  taken  in  hand  as  a 
solemn  duty.  Other  choirs  in  town  had  been  organized  and 
sustained  on  Christian  principles,  and  their  success  was  found  to 
be  permanent.  But  the  congregation  before  us,  entertained 
different  views  of  responsibility.  "  Music,"  they  said,  "  ought 
to  be  cultivated  like  painting  and  sculpture.  It  was  no  part  of 
religion,  but  an  art  to  be  encouraged,  because  of  its  usefulness 
in  Christian  assemblies."  Thus,  by  a  mixture  of  truth  and  er- 
ror in  their  principles,  they  virtually  secularized  the  entire  in- 
terest, and  regarded  those  as  superstitious,  who  insisted  upon 
the  importance  of  religious  training.  No  wonder  they  failed  to 
succeed.     Success  would  have  been  impossible. 


XVI. 

AN  ORGANIST  A  WOULD-BE  LEADER. 

Governed  theoretically  and  practically  by  whims."— Jacobi. 

The  land  of  steady  habits  furnishes  many  a  noble  example 
of  stability  in  the  praises  of  Zion.  The  same  counsels  have 
prevailed  from  year  to  year,  and  sometimes  from  generation  to 
generation.  How  desirable  is  such  stability  where  counsels  are 
wise,  and  practices  are  rightly  directed  !  But  examples  of  in- 
stability are  not  wanting,  even  in  New  England. 

In  the  beautiful  village  of  J ,  there  was  in  one  of  the 

principal  churches  a  large  choir,  whose  performances  had  for  a 
long  time  been  remarkable  for  their  excellence.  Things  were 
not  always  right,  for  in  the  absence  of  better  information,  art- 
istic principles  would  sometimes  be  too  predominant.  But  the 
leading  members  of  the  choir  were  truly  conscientious,  and 
acted  up  to  the  amount  of  their  knowledge,  as  spiritual  wor- 
shippers. The  congregation  were  greatly  interested  in  the  ex- 
ercises, and  for  the  most  part  considered  them  highly  devo- 
tional. The  pastor,  with  a  small  amount  of  musical  skill,  would 
seek  to  favor  the  choir,  and  one  of  his  deacons  was  among  the 
leading  singers.  Everything  was  harmonious  in  the  two-fold 
sense  of  the  word.  There  was  good  music  and  entire  unanimity 
of  feeling.  Not  a  single  difficulty  arose  to  mar  the  enjoyment 
for  years  in  succession.     The  happy  example  of  this  choir  be- 


A  WOULD-BE  LEADER.  93 

came  widely  influential  in  the  establishment  of  similar  associa- 
tions. 

But  at  length  the  lapse  of  years  witnessed  important  changes. 
Several  of  the  leading  members  of  that  choir  had  gone  to  their 
heavenly  rest.  Some  had  retired  from  the  gallery,  and  others 
had  left  the  village.  Among  the  latter  were  the  teacher,  and 
the  chorister,  and  the  deacon.  Another  pastor  now  occupied 
the  desk,  who,  though  a  better  singer  than  his  predecessor,  was 
remarkable  for  his  dread  of  all  musical  responsibility.  He  was 
young  and  talented,  and  amiable  in  his  deportment.  He  was 
emphatically  a  good  man,  deeply  devoted  to  the  duties  of  his 
profession.  His  want  of  decision  in  regard  to  exercises  of 
praise  was  unfortunate.  A  little  courage  and  energy  and  per- 
severance in  regard  to  the  choir,  would  have  sufficed  to  perpet- 
uate the  former  influences.  But  the  entire  management  was 
now  for  the  first  time,  given  into  the  hands  of  the  trustees  of 
the  society,  not  one  of  whom  was  really  competent  to  sustain 
such  a  responsibility. 

There  was  still  an  efficient  choir  and  an  excellent  chorister. 
But  the  trustees  chose  to  act  independently.  A  large  organ 
was  placed  in  the  choir-loft,  occupying  some  portion  of  the 
room  which  had  been  filled  by  the  singers.  Every  pipe  in  so 
splendid  an  instrument  must  be  allowed  the  freedom  of  speech, 
though  by  this  means  the  singers  should  be  overpowered.  The 
singers  also  were  greatly  crowded.  As  to  the  first  of  these 
difficulties  the  chorister  felt  little  concern,  for  the  people  would 
soon  find  that  they  might  have  too  much  even  of  a  good  thing. 
But  the  seats — these  could  neither  be  multiplied  nor  extended. 
So  the  chorister  and  the  deacon,  greatly  beloved  and  respected 
by  the  singers,  concluded  to  set  an  example  of  condescension. 
Leaving  all  the  cushioned  seats  to  the  singers,  they  planted 
themselves  upon  a  pine  bench  placed  for  the  purpose,  in  a  small 


94  AN   OBttANiaT 

vacancy  in  front  of  the  organ.  The  thing  was  done  so  gently, 
and  with  so  good  a  grace,  that  not  a  word  was  said.  There 
was  now  room  for  all,  and  causes  of  complaint  (no  thanks  to 
the  trustees)  were  fully  obviated. 

The  organist  was  a  man  of  skill,  and  in  some  respects  a  good 
accompanist.  He  was,  however,  one  of  those  musical  students 
of  whom  it  might  be  said  that  "  a  little  learning  is  a  dangerous 
thing."  He  was  superficial  and  opinionated.  Partially  con- 
versant with  German  music  of  a  high  order,  which  abounds  in 
mimetic  imitation,  he  sought  to  plume  himself  with  achieve- 
ments of  a  similar  nature.  He  could  manufacture  darkness 
and  sunlight,  haloes  and  moonshine,  in  any  quantity,  at  the 
shortest  notice.  He  usually  kept  his  eye  upon  the  text,  and 
words  and  phrases,  independently  of  all  connection,  were  the 
special  calls  for  his  expression.  He  was,  in  fact,  a  musical 
punster  of  a  graver  sort.  If  he  saw  the  words  "upward  I 
raise,"  up  went  the  touches  to  altissimo — or  the  words  "  down 
my  thoughts," — down  went  the  minstrelsey  into  the  cavernous 
depths  of  the  instrument.  If  the  poet  said  "  no  thunder" — "  no 
tempest" — it  was  enough.  The  thunder  and  the  tempest  would 
be  forthcoming,  though  the  poet  should  be  virtually  contra- 
dicted. He  had  also  a  decided  fondness  for  power  in  two 
respects.  He  loved  a  powerful  accompaniment,  and  he  was 
ambitious  of  becoming  sole  director  of  the  music.  The  present 
chorister,  therefore,  was  directly  in  his  way. 

For  a  few  years  the  singing,  in  connection  with  the  organ, 
retained  much  of  its  former  character,  and  continued  to  please. 
But  on  a  sudden  the  chorister  was  called  to  another  field  of 
labor.  The  organist  exulted.  He  felt  like  a  prisoner  let  loose 
from  confinement.  Now  was  the  time  to  obtain  the  coveted 
prerogative.  Why  should  a  man  of  his  acquirements  be  con- 
tinually crippled  by  restrictions  and  limitations  ?     He  had  been 


A    WOULD-BE   LEADER.  95 

too  long  under  tutors  and  governors.  He  "  ought  certainly  to 
be  able  to  manage  without  an  overseer."'  The  singing  had 
;*  never  been  sufficiently  skilful.  The  art  rightly  applied."  he 
said,  was  "  susceptible  of  higher  effects."'  He  had  very  little 
respect  for  the  talent  of  the  existing  choir.  They  were  "  good 
people,  but  no  musicians." 

The  singers,  however,  had  sufficient  evidence  of  the  incompe- 
tence of  the  organist  in  vocal  music,  and  made  a  faithful  though 
prudent  representation  of  their  views  to  the  trustees.  His 
notions  were  all  artistic — he  was  sufficiently  enthusiastic  and 
sanguine  of  success.  But  he  had  no  voice.  He  had  no  expe- 
rience in  teaching.  His  judgment  was  not  stable.  He  was 
whimsical.  He  had  no  skill  in  discipline,  and  no  tact  in  man- 
agement. These  representations,  however,  were  of  no  avail. 
The  singers,  it  was  thought,  must  be  strongly  prejudiced.  In- 
deed, the  organist  had  preceded  them  in  his  accusations ;  and 
as  he  had  played  himself  into  favor  with  the  people,  all  remon- 
strance was  useless.  The  choir  would  no  longer  consent  to  sing 
without  an  efficient  leader.  The  trustees  thought  them  un- 
reasonable. The  pastor,  like  the  organist,  was  inclined  to  look 
on  the  bright  side  of  the  subject.  He  thought  the  singers  would 
not  leave.  He  presumed  that  the  matter  could  be  easily  ad- 
justed. 

It  was,  indeed,  presumption.  The  very  first  Sabbath  after 
the  new  appointment,  the  singers  left  the  gallery,  to  the  chagrin 
of  the  organist  and  the  vexation  of  the  trustees.  They  acted 
wisely.  For  a  long  time  their  services  had  been  ill-appreciated 
— and  now  a  leader  was  appointed  over  them  contrary  to  their 
known  wishes,  and  one  whom  it  would  be  impossible  for  them 
to  follow.  He  himself  had  spoken  disrespectfully  of  their 
talents :  and  why  should  they  place  themselves  under  his  direc- 
tion ?     Ther  could  not  act  so  foolishlv.     They  made  no  further 


96  AN  ORGANIST 

complaint.  They  had  done  what  they  could,  and  had  left  the 
seats  peacefully,  to  be  occupied  by  other  incumbents. 

The  organist  rallied.  He  puffed,  and  blowed,  and  fretted, 
and  finally  bowed  and  simpered,  and  gained  from  the  "  upper 
classes"  a  band  of  fresh  volunteers,  who,  no  doubt,  would  far 
outshine  their  predecessors.  But,  unhappily,  the  new-comers 
lacked  discipline.  They  were  impracticable.  They  we  re  not  to  be 
drilled  either  into  style  or  punctuality.  They  came  up  only  for 
a  few  Sabbaths,  just  to  show  what  might  be  done,  and  to  keep 
the  poor  organist  in  heart.  They  were  not  the  persons  to  ac- 
complish the  work  ;  to  stand  in  the  breech  and  assume  responsi- 
bilities. Of  course,  their  example  was  ineffectual.  They  soon 
retired,  and  left  the  organist  once  more  in  trouble.  Gladly 
would  he  have  greeted  the  return  of  the  former  choir,  for  the 
failure  had  somewhat  lessened  his  self-esteem.  But  this  could 
not  be.  There  was  no  efficient  leader.  Devotional  ideas  had 
been  set  aside.  The  trustees  were  ignorant  of  the  subject ;  and 
the  church  and  pastor  would  assume  no  responsibility.  How 
could  the  choir,  under  such  circumstances,  resume  their  seats, 
and  maintain,  as  formerly,  the  attitude  of  solemn  worshippers  1 

Artistic  principles  now  held  the  predominance;  and  the 
church  and  people  had  united  in  the  arrangement.  The  change 
was  disastrous.  The  members  of  the  old  choir  soon  began  to 
be  censured.  Grievous  imprudences  were  laid  to  their  charge, 
of  which  they  were  entirely  innocent.  They  were  accounted 
stubborn  and  wilful.  But  this  was  not  true.  They  acted  from 
principle,  and  acted  wisely.  Yet  the  case  was  differently 
represented.  And  thus,  a  conscientious,  united  band  of  sing- 
ers, driven  from  their  seats  by  counsels  which  had  put  it  out 
of  their  power  to  enjoy  the  privilege  of  sincere  worshippers, 
were  made  to  bear,  like  scape-goats,  the  sins  of  the  organist  and 
congregation.     Every  movement  would  fail.     Nothing  would 


A  WOULD-BE   LEADER.  97 

be  stable — nothing  would  be  attended  with  success.  Hired 
singers  must  be  procured.  The  organ  must  be  enlarged  and 
better  located.  The  congregational  method  must  be  tried ; 
then  another  voluntary  choir;  and  then  a  real  "prima  donna." 
Nothing  could  give  satisfaction.  Every  failure,  however,  would 
be  traced  back  to  the  period  when  the  seats  were  first  vacated. 
The  first  choir  had  inflicted  all  the  injury. 

But  why  refer  the  repeated  miscarriages  to  them  1  Why 
not  go  back  to  the  treatment  which  they  had  received  and  borne 
with  Christian  fortitude,  till  forbearance  had  ceased  to  be  a  vir- 
tue? The  choir  acted  nobly.  It  was  the  people  who  had 
sinned.  In  their  ignorance  they  had  been  guilty  of  ingratitude 
and  abuse.  They  had  sacrificed  the  spirit  of  praise  to  the  idol- 
atries of  taste,  and  like  others  who  had  been  equally  inconsid- 
erate, had  plunged  themselves  into  inextricable  difficulties. 
Another  generation  may  yet  pass,  before  the  merits  of  the  sub- 
ject will  be  understood.  Yet,  a  small  amount  of  information, 
faithfully  acted  upon,  would  in  the  first  instance  of  difficulty, 
have  prevented  the  entire  train  of  evils. 

5 


XVII. 

BACKWARD  AHD  FORWARD. 

"Man  mc st  err, 
Till  he  has  ceased  to  struggle." — Shklley. 

Not  far  from  one  of  the  western  villages  of  this  State,  the 
track  of  a  much  travelled  railroad  runs  repeatedly  backward 
and  forward,  at  very  acute  angles.  Inattentive  passengers  may 
fancy  that  they  have  been  advancing  many  miles,  when  in  fact 
they  have  been  making  but  little  progress,  except  in  a  lateral 
direction.  Such  has  been  the  zigzag  course  of  psalmody  in  the 
American  churches. 

Previous  to  the  revolutionary  war,  the  strains  of  the  six- 
teenth century  formed  a  leading  feature  in  the  songs  of  praise, 
but  before  the  struggle  was  over  which  established  our  inde- 
pendence, foreign  music  was  extensively  laid  aside  in  favor  of 
home  productions.  The  latter,  while  designed  for  the  church, 
were  as  undevotional  in  spirit  as  rude  in  structure.  They  were 
wild  and  artless,  but  full  of  life,  and  noise,  and  novelty.  As 
there  was  then  but  little  taste  in  the  country,  they  soon  became 
popular ;  but  at  length  their  irreligious  tendencies  created  alarm. 
This,  in  the  course  of  a  few  years,  brought  them  into  general 
disrepute.  The  next  movement  was  backward,  to  the  music 
which  had  formerly  been  discarded.  The  people  for  awhile 
demurred  and  hesitated,  but  finally  acquiesced,  and  sunk  into  a 


BACKWARD   AND    FORWARD.  99 

profound  repose,  from  which  no  appliances  of  argument  or  mo- 
tive could  succeed  in  arousing  them.  The  old  music  had  been 
sufficiently  celebrated,  but  it  could  not  awaken  their  sympa- 
thies. It  seemed  to  savor  of  indolence,  dulness,  and  monotony. 
What  was  it  to  them,  that  three  centuries  ago,  these  tunes  had 
been  sung  in  a  foreign  land,  by  a  Huss,  a  Zwingle,  or  a  Luther  1 
American  singers  required  music  more  appropriate  to  their 
own  times  and  circumstances  ;  music  which  they  could  appre- 
ciate and  enjoy.  For  several  years,  therefore,  an  increasing  in- 
difference was  manifested. 

Meanwhile,  some  of  the  neglecters  of  the  art,  delightfully 
employed  in  revivals  of  religion,  began  to  apply  rudely-con- 
structed hymns  to  the  music  of  low,  familiar  songs  and  ballads. 
The  new  pieces  were  so  far  removed  from  the  stiffness  and  mo- 
notony of  the  chorals,  as  to  be  more  exciting.  This  circum- 
stance rendered  them  popular.  For  awhile,  in  many  portions 
of  the  country,  their  effect  was  electrical.  But  whenever  a  re- 
vival had  subsided,  and  there  was  more  leisure  to  attend  to  the 
subject,  it  was  found  that  the  music,  in  spite  of  the  devotional 
words,  would  bring  to  mind  the  old  songs  and  ballads.  Music 
having  associations  so  disastrous  to  spiritual  worship,  could  not 
continue  long  in  favor.  The  tunes  in  a  little  time  became  dis- 
gusting, and  were  generally  discarded.  They  proved  more  un- 
desirable than  the  chorals,  or  even  the  senseless  productions 
which  had  preceded  them.  The  general  interest  in  psalmody 
was  again  decreasing. 

From  this  period,  the  progress  of  psalmodic  selections  was 
directly  onward.  Spirit-stirring  melodies  and  movements  of  a 
chant-like  character,  uninjured  by  profane  associations,  were 
now  mingled  with  the  old  chorals.  The  people  once  more  be- 
came interested,  and  awoke  to  the  importance  of  taste  and 
judgment  in  the  selection  of  tunes.     Books  and  singers  and 


100  BACKWARD  AND   FORWARD. 

schools,  adult  and  juvenile,  increased  throughout  the  land  ;  and 
the  numbers  have  since  been  accumulating  up  to  the  present 
hour. 

The  style  of  execution  in  psalmody  has  not  unfrequently 
been  marked  by  similar  vicissitudes.  This  observation  has 
more  reference  to  particular  choirs  than  to  the  community  at 
large. 

The  choir  in  the  old  church  in  L ,  while  conforming  to 

the  above-mentioned  changes  in  selection,  received  instruction, 
for  a  period  of  some  twenty  years,  from  eight  different  teach- 
ers, each  of  whom  was  unhappily  but  a  "  man  of  one  idea." 
The  first  teacher  was  skilled  in  notation,  but  entirely  deficient 
in  style.  When  his  term  had  expired,  his  pupils  could  read 
music ;  but  their  style  was  monotonous  and  insipid.  The  sec- 
ond teacher  was  a  prodigy  in  teaching  rhythm.  He  was  a 
walking  metronome.  While  singing,  every  joint  would  be  in 
motion,  like  the  workings  of  machinery.  Under  his  instruction 
the  choir  became  good  timists,  but  nothing  more.  No  attention 
had  yet  been  devoted  to  the  cultivation  of  the  voice.  The 
third  teacher  was  the  man  to  supply  this  deficiency.  "  What  is 
the  use  in  keeping  time,"  said  he,  "  while  the  voices  are  unmu- 
sical ?"  He  was  a  bad  timist  with  a  pleasant  voice  ;  so,  in  his 
constant  vocalization,  he  indirectly  promoted  negligence  of 
rhythm,  till  the  influence  of  the  training  of  his  predecessor  had 
disappeared.  The  fourth  teacher,  being  a  rhythmist,  soon  re- 
stored regularity  in  respect  of  time ;  but  through  the  inveterate 
habit  of  snuff-taking,  his  voice  had  become  nasal ;  and  the  tones 
of  the  singers  were  injured  through  unconscious  imitations  of 
his  voice. 

The  fifth  teacher  was  remarkable  chiefly  for  articulation.  He 
had  studied  orthoepy  to  some  good  purpose  ;  but  was  ignorant 
of  stvle.     "  Of  what  use  are  pleasantness  of  tone  or  accuracy 


BACKWARD    AND    FORWARD.  101 

in  time,"  said  he,  "  if  the  words  are  never  to  be  heard  ?"  Time, 
he  said,  was  essential  to  the  simultaneous  utterance  of  words, 
but  beyond  this  it  required  little  attention.  Good  articulation, 
said  he,  depends  upon  the  distinct  utterance  of  the  consonants. 
The  singers,  therefore,  were  drilled  so  exclusively  upon  the  ele- 
ments of  the  consonants,  that,  through  the  habitual  neglect  of 
vowels,  their  voices  lost  their  remaining  polish,  and  became 
worse  than  ever. 

The  sixth  teacher  had  a  sensitive  ear,  with  much  affectation 
of  refinement.  As  he  had  but  little  knowledge,  he  chose  to 
pass  for  a  natural  genius.  He  abounded  in  extravagant  ex- 
pressions. He  would  be  "  absolutely  tortured"  by  trifling  aber- 
rations from  the  pitch  ;  and  the  roughness  of  consonants  in  ar- 
ticulation would  be  "  quite  horrifying."  M  Why  should  the 
'  heavenly  charms'  of  song,"  said  he,  "  be  converted  into  drawl- 
ing recitations."  So  the  sibilants  must  be  silent,  the  aspirates 
must  withhold  their  breath,  and  the  mutes  be  entirely  dumb  ; 
while  only  vowels,  labials,  and  liquids,  must  remain  as  representa- 
tives of  the  language.   Of  course,  good  articulation  was  destroyed. 

The  seventh  teacher  was  famous  for  "  good  vocal  delivery." 
He  had  a  commanding  voice,  and  was  sufficiently  proud  of  it ; 
but  he  would  sing  so  loud  as  to  destroy  all  balance  in  the  har- 
mony, and  cause  aberrations  from  the  pitch.  He  was  however 
faithful  to  his  one  purpose.  "  Articulation,  and  accent,  and  em- 
phasis, and  the  pauses,  and  the  management  of  the  breath,"  said 
he,  "  are  all  essentials  in  language  ;  and  what  is  the  use  of  pre- 
tending to  sing  hymns,  if  the  language  is  to  be  destroyed  by 
the  music  V  A  momentous  question  truly ;  and  one  which 
should  not  have  been  so  many  years  deferred.  But  in  his  ex- 
clusive devotement  to  these  essentials,  in  verbal  delivery,  he 
neglected  tone,  and  tune,  and  time,  till  in  these  latter  respects 
the  singing  had  miserably  degenerated. 


102  BACKWAKD   AND   FORWARD. 

The  eighth  teacher  was  a  sentimentalist.  He  was  addicted 
to  light  reading,  and  would  often  be  rubbing  his  eyes  over  some 
sorry  novel.  "  Music,"  he  would  say,  "  is  the  language  of  the 
soul"  (referring,  doubtless,  to  emotion,  such  as  the  mere  artist 
may  feel).  "  Music  must  be  full  of  sentiment.  Sentiment  is 
everything.  What  use  is  there  in  good  vocal  delivery  without 
feeling  '?"  A  very  important  question  to  be  sure,  if  he  had 
fully  apprehended  its  meaning.  But  his  definitions  and  direc- 
tions were  of  little  account,  and  his  illustrations  were  ridicu- 
lous. When  a  tune  pleased  him,  he  would  rub  his  hands,  work 
up  his  face  into  curious  distortions,  breathe  short,  and  look  alto- 
gether so  queerly,  as  to  call  forth  a  laugh,  unless  his  pupils 
were  particularly  upon  their  guard.  They  admitted  the  pro- 
priety of  emotions  in  singing  ;  but  these  would  never  come  for 
his  bidding.  This  was  beyond  the  depths  of  his  philosophy. 
He  could  not  understand  it.  The  singers  must  be  greatly  defi- 
cient in  sensibility  if  they  could  not  sympathize  with  him. 

All  these  conflicting  changes,  of  course,  could  not  have  oc- 
curred among  the  same  individuals  in  any  short  period  of  time ; 
but,  as  the  several  seasons  of  instruction  referred  to  were  sepa- 
rated from  each  other  by  intervals  of  two  or  three  years,  and 
as  few  of  the  singers  would  stay  many  years  in  the  choir,  the 
disagreements  among  teachers  excited  little  observation. 

At  length,  a  period  arrived  when  an  able  instructor  was  em- 
ployed, whose  well-digested  system  of  training  led  the  course 
of  improvement  directly  onward.  He  took  in  hand,  severally, 
the  essential  properties  in  style,  giving  to  each  its  relative  share 
of  attention  ;  crowning  the  whole,  by  strongly  inculcating  men- 
tal habits  and  principles,  in  connection  with  the  office  of  praise. 
His  success  was  so  pleasing  and  so  unprecedented,  that  from 
that  time  forward  no  other  teacher  could  find  employment  in 
the  place,  while  his  services  could  be  secured. 


BACKWARD    AND    FORWARD.  103 

How  great  is  the  importance  of  employing  good  teachers, 
and  continuing  their  services  in  the  same  places,  till  their  work 
can  in  some  measure  be  perfected  !  The  influence  of  wrong  se- 
lections of  music,  as  we  have  seen,  must  be  very  disastrous, 
but  the  employment  of  incompetent  teachers  is  still  more  so, 
especially  where  their  instructions  are  partial  and  contradictory. 

By  such  means  as  these,  the  choir  of  the  old  Church  in  L , 

were  laboring  twenty  years  before  their  style  became  mature 
and  permanently  effective. 


XVIII. 

AN   INSTRUCTIVE   EXAMPLE   FOR  CITY    CIIORCIIES. 

"  Let  ail  your  sacred  passions  move, 

While  you  rehearse  his  deeds.'MVATTB. 

The  old  M church  which  stood  in  the  business  portion 

of  one  of  the  largest  cities  in  the  Union,  was  long  since  demol- 
ished by  the  rush  of  commercial  enterprise.  It  was  large  and 
commodious,  though  unsightly  and  ill-proportioned.  The  peo- 
ple who  worshipped  there,  were  chiefly  from  those  classes  in 
society,  who  were  the  most  forward  in  Christian  activity.  They 
were  favored  with  an  earnest  ministry.  Addresses  from  the 
pulpit,  though  plain  and  unpolished,  were  eminently  logical  and 
persuasive.  They  turned  back  many  a  one  from  the  paths  of 
the  destroyer,  and  led  him  in  the  ways  of  righteousness  and 
peace. 

The  city  from  its  earliest  foundation  had  been  noted  for  the 
prevalence  of  congregational  singing.  The  few  feeble  choirs 
that  had  latterly  been  organized,  could  not  long  be  sustained. 
Whether  hired  or  voluntary  it  mattered  not.  There  was  a  want 
of  energy  and  a  deficiency  in  skill.  One  of  these  choirs,  for 
example,  sung  on  a  certain  occasion  from  four  different  editions 
of  the  same  music-book,  without  discovering  that  the  harmonies 
were  different  in  each.  They  read  as  "  by  guess."  Little  at- 
tention had  been  paid  to  rules.  Music  syllables  had  been  dis- 
carded, and  the  practice  of  beating  time,  at  rehearsals,  had  be- 


AN  INSTRUCTIVE   EXAMPLE.  105 

come  the  subject  of  ridicule.  The  performances  of  such  choirs 
were  neither  agreeable  in  manner,  or  devotional  in  spirit. 

But  the  enterprising  people  at  the  M church,  blessed  as 

they  were  by  an  excellent  minister,  could  not  be  satisfied  with 
such  miserable  singing.  What  should  hinder  them  from  estab- 
lishing a  choir  on  better  principles  ?  True,  they  could  not  pre- 
tend to  musical  talent  or  taste,  or  peculiar  susceptibility.  But 
these  were  things  to  be  gained  by  study  and  practice.  Former 
efforts  had  been  feeble,  desultory,  and  ill-advised,  and  they  had 
not  been  based  upon  religious  principles.  Praise  should  be 
sedulously  promoted  and  sustained  as  a  Christian  employment, 
and  a  delightful  privilege. 

The  present  state  of  things  could  no  longer  be  tolerat- 
ed. An  adult  singing-school  was  established,  under  the  charge 
of  a  pious  and  talented  teacher.  Those  who  were  the  most  ac- 
tive in  every  other  good  work,  were  the  most  faithful  and  per- 
severing in  this.  They  acted  from  principle.  They  were  ear- 
nest and  ardent,  and  instruction  took  fast  hold  upon  them. 
When  a  few  months  had  elapsed,  and  long  before  their  voices 
could  be  well  matured,  they  organized  themselves  into  a  choir, 
and  took  their  places  in  the  gallery.  They  did  not  pretend  to 
be  artists.  They  had  gained  but  little  skill  in  execution.  They 
were  not  equal  to  the  strains  of  a  Mozart,  a  Beethoven,  or  a 
Mendelssohn.  There  was  not  a  Caradora  or  a  Sontag  among 
them ;  not  an  individual  who  could  anywhere  have  sustained 
the  reputation  of  a  solo  singer.  But  with  a  goodly  number  of 
chaste,  familiar  melodies  before  them,  they  were  enabled  as  a 
choir,  to  speak  forth  the  praises  of  God  in  a  remarkably  solemn 
and  impressive  manner.  The  voices  were  numerous  and  pow- 
erful. Moving  in  the  plainest  harmony  and  the  simplest 
rhythm,  they  kept  together,  and  so  acted  upon  each  other,  as  to 
form  a  fair  specimen  of  chorus-singing. 


106  AX   INSTRUCTIVE   EXAMPLE 

What  if  the  critic  could  now  and  then  discover  the  grating 
of  a  harsh  consonant,  or  the  misapplication  of  an  accent  or  em- 
phasis I  And  what  if  the  melodies  were  too  simple  or  too 
ballad-like  to  meet  his  notions  of  artistic  propriety  ?  They 
were  precisely  such  as  the  circumstances  then  demanded,  and 
were,  therefore,  sufficiently  in  character.  They  had  never  been 
injured  by  profane  associations.  They  were  of  a  popular  cast, 
easily  understood  and  appreciated,  and  the  choir  could  speak 
through  them  effectually  to  the  conscience  and  to  the  heart. 
Their  dynamics  resulted  more  from  feeling  than  from  art. 
Adaptations  were  generally  happy  :  and  both  the  words  and  the 
music  were  strongly  characteristic.  Minor  discrepancies  were 
lost  in  the  loud  volume  of  sound  ;  and  the  singing,  in  the  favora- 
ble circumstances  which  attended  it,  appeared  better  than  it 
really  was.  Yet  it  was  truly  excellent  in  the  best  point  of  view. 
No  church  music  in  the  city  could  then  compare  with  it  in  re- 
ligious utility. 

Nor  was  improvement  confined  to  the  choir.  The  congrega- 
tion grew  less  discordant,  and  their  efforts  were  becoming  more 
regular  and  consentaneous.  The  sub-basses,  who  used  to  sing 
the  melody  a  fifteenth  below  the  pitch,  and  the  drawlers,  who 
would  be  so  marvellously  behind  time,  had  either  been  shamed 
into  silence,  or  been  better  instructed.  Even  the  monotones 
had  learned  to  be  dissatisued  with  droning.  All,  while  evi- 
dently improving,  seemed  pleased  and  edified ;  and  a  mutual 
sympathy  was  maintained  between  the  choir  and  congregation. 

A  style  so  unpretending,  so  readily  acquired,  and  yet  so  influ- 
ential, could  not  fail  to  excite  observation.  Many  could  not 
understand  it.  Artists  considered  it  too  unclassical ;  amateurs 
complained  of  its  deficiencies  and  innovations ;  and  critics  were 
sure  that  something  better  could  be  devised.  They  tried  their 
skill  amid  the  surrounding  congregations,  but  were  foiled  in 


FOR   CITY   CHURCHES.  107 

every  effort.     One  scheme  after  another  would  be  defeated. 

But  the  choir  at  M were  never  in  difficulty.     Their  music 

was  permanent  and  always  improving.  At  length  the  secret 
was  manifest.  The  choir  consisted  chiefly  of  conscientious,  in- 
telligent worshippers.  They  were  neither  "hired  singers,"  nor 
"  amateur  performers,"'  nor  vague  sentimentalists,  but  members 
of  a  Christian  church,  sustaining  the  office  of  praise  in  spirit,  as 
well  as  in  manner,  under  an  apprehension  of  the  all-pervading 
presence  of  the  heart  searching  God. 

The  choir  had  taken  the  right  position,  and  were  able  to  main- 
tain it.  They  reasoned  thus: — "If  mere  musical  enjoyment  is 
to  be  our  object  of  pursuit,  let  us  purchase  tickets  and  spend 
occasional  evenings  at  the  concert  rooms ;  but  if  spiritual  wor- 
ship is  the  chief  desideratum  in  the  exercises  of  praise,  let  us 
prepare  ourselves,  and  personally  engage  in  them,  as  in  other 
religious  duties,  and  endeavor  to  obtain  the  divine  blessing  upon 
our  exertions."  They  acted  on  true  Christian  principles,  and 
were  never  disappointed.  Their  labors  were  abundantly  re- 
warded in  the  sweet  religious  enjoyment  which  attended  them. 
Their  style  continued  to  improve.  No  other  singing  gave  such 
general  satisfaction  to  the  friends  of  evangelical  piety.  Other 
congregations  in  the  city  began  to  profit  by  their  example ;  and 
strangers  from  every  part  of  the  land,  as  they  visited  the  city, 
were  struck  with  surprise  at  t«he  visible  improvement  they  wit- 
nessed in  the  songs  of  praise. 

Years  have  passed  since  the  old  edifice  was  demolished. 
When  it  was  abandoned,  the  choir  dispersed  through  various 
portions  of  the  city,  acting  like  leaven  upon  the  mass  of  singers 
who  had  already  felt  the  power  of  their  example.  That  influ- 
ence is  not  lost.  Several  choirs  in  the  city  are  still  established 
and  conducted  on  the  same  general  principles.  If  other  churches 
persist  in  allowing  mere  artistic  personations  of  praise,  let  them 


108  AN  INSTRUCTIVE   EXAMPLE. 

not  complain  of  irrascibility  as  peculiar  to  musicians.  They 
would  find  full  as  much  trouble  in  regulating  the  office  of  prayer, 
if  they  were  to  proceed  on  no  better  principles.  The  main- 
tenance of  wrong  principles  in  any  department  of  religious  wor- 
ship will  be  found  to  make  trouble.  But  let  a  lesson  be  taken 
from  the  example  which  was  given  by  the  choir  of  the  old 

M church,  some  twenty  years  ago,  before  complaining  of 

labors,  sacrifices,  and  perplexities,  in  sustaining  the  office  of 
praise.  What  a  measureless  amount  of  good  may  sometimes 
be  produced  by  a  single  choir,  conducted  on  Christian  princi- 
ples, under  the  Divine  guidance  and  blessing  1 


XIX. 

SABBATH  CONCERTS, 

M  Who  ever  knew  truth  put  to  the  \v0r3e  in  a  free  and  open  discussion  ?" — Milton. 

"  What  have  /  to  do  with  religion  in  my  singing-school  f 
exclaimed  one  whose  attention  had  just  been  called  to  the  sub- 
ject.    "  Clergymen  are  teachers  of  religion." 

"  But,"  replied  his  professional  friend,  "  the  clergy  are  not 
teachers  of  religious  music.     That  is  our  employment." 

"  Not  exactly.  Music  is  one  thing,  and  religion  another. 
Things  which  are  so  different  may  well  be  separated.  "We  are 
mttttc-teaehers." 

"  But  sacred  words  are  continually  before  us  in  the  schools. 
How  would  you  treat  them  f 

"  With  becoming  reverence,  certainly.  My  schools  are  never 
disorderly." 

"  Would  you  not  have  the  words  illustrated  and  enforced  by 
the  music  V 

"  To  tell  the  truth,  words  do  not  seem  so  important  when 
the  music  is  effective." 

"  To  me,  they  seem  the  more  so." 

"  That  is  not  the  prevailing  impression." 

"  Probably  it  is  not.  But  the  office  of  praise,  you  know,  is 
established  by  divine  and  not  human  authority." 


110  SABBATH   CONCERTS. 

u  The  art  of  music  has  become  a  different  thing  since  the  Bi- 
ble was  written  ;  and — " 

"  But  the  Bible  has  not  changed.  Its  precepts  are  inviola- 
ble." 

"  True.  Very  true.  But  music,  you  know,  has  become  of 
itself  an  expressive  language ;  more  deeply  so,  than  that  of 
mere  poetry  or  prose." 

"  Id  a  high  artistic  sense  it  has  sometimes  put  forth  such 
claims.  But,  come,  if  the  language  is  so  wonderful,  just  pro- 
duce me  a  musical  translation  of  the  fifty-first  Psalm  which  will 
be  understood  and  appreciated." 

"  We  have  our  penitential  style,  you  know." 

u  Rather  say  pathetic  style.  Music  is  the  language  of  emo- 
tion. But  emotions  need  a  guide,  an  interpreter.  Men  may 
be  sorrowful  or  glad  in  reference  to  wrong  objects." 

"  But  remember,  I  do  not  lay  the  words  aside." 

"  You  only  mean  to  lessen  their  importance." 

"  I  may  be  wrong  in  this.  But  look  at  the  listeners  at  a  pub- 
lic concert.  What  delight  is  manifested  when  any  beautiful,  or 
pathetic,  or  sublime  ideas  are  brought  out  by  the  performances ! 
The  appeal  is  felt  and  responded  to,  though  not  a  syllable  of 
the  language  is  understood.  We  never  witness  such  effects 
from  verbal  utterances  in  psalmody." 

"  Nor  should  we  desire  to  witness  them.  The  nature  of  the 
two  cases  is  entirely  dissimilar.  In  the  one,  the  object  is 
amusement,  just  as  in  dramatic  exhibitions  ;  in  the  other,  it  is 
solemn  personal  worship,  in  the  presence  of  Omniscience,  as  in 
exercises  from  the  sacred  desk." 

"  True ;  and  we  ought  to  remember  this  distinction." 

"  And  to  act  upon  it." 

"Certainly;  but—" 

"  I  understand  your  objection.     The  view  I  am  presenting  is 


SABBATH   CONCERTS.  Ill 

not  the  popular  one.  We  wish  to  please  our  employers  ;  and 
it  requires  much  courage  to  carry  such  views  into  effect,  as 
many  would  be  tempted  to  call  them  ultra." 

"  Precisely  so." 

"  My  friend,  you  wish  everywhere  and  at  all  times  to  do 
your  duty  as  a  Christian." 

"  Certainly." 

"But  the  public  impression  in  regard  to  church-music  is  sub- 
stantially wrong.  It  is  too  decidedly  artistic.  Now,  if  in  all 
our  training,  in  regard  to  sentiment,  we  make  no  practical  dis- 
tinction between  artistic  and  devotional  influences,  how  is  the 
prevailing  error  to  be  corrected  ?  Such  teaching  tends  neces- 
sarily to  its  perpetuation." 

As  no  further  answer  could  be  given,  the  conversation  ended. 
The  two  teachers  were  intelligent,  and  they  were  ardent  friends. 

The  one  had  a  call  from  the  choir  of  the  P church  of  a 

considerable  inland  town,  and  the  other  was  kindly  urging  him 
to  sustain  his  proper  responsibilities  as  a  teacher  of  religious 
music.  The  discussion  had  some  influence  ;  but  as  the  call  was 
a  flattering  one,  and  there  was  some  hurry  and  bustle  in  prepar- 
ing to  meet  it,  no  very  abiding  convictions  of  duty  were  pro- 
duced. Still,  important  thoughts  had  been  suggested,  which 
would  not  be  entirely  forgotten. 

The  choir  of  P church  had  long  been  remarkable  for 

skilful  performances.  The  singers  were  numerous  and  power- 
ful, and  well  united.  They  had  a  splendid  organ,  with  a  profess- 
ional player ;  and  now  they  obtained  a  talented  teacher  and 
leader.  Their  singing  had  not  declined.  There  was  no  need 
of  an  accession  of  numbers.  Every  seat  was  filled.  The  sing- 
ing was  popular,  and  the  people  were  sufficiently  proud  of  it. 
Visitors  had  praised  it.  Journalists  had  often  commended  it. 
Lecturers  had  referred  to  it  as  a  model  of  excellence ;  and  pub- 


112  SABBATH   CONCERTS. 

lishers  of  music  had  found  their  account  in  sending  gratuitous 
supplies  of  books  for  the  accommodation  of  the  singers.  But, 
improvement  is  never  stationary ;  and  the  only  way  to  prevent 
retrogression,  is  to  endeavor  to  move  onward  in  the  progress 
of  refinement.  This  was  the  reason  for  employing  so  talented 
a  teacher. 

The  new  teacher  was  now  in  his  element.  He  was  kindly 
received.  His  instructions  were  highly  prized.  All  were  de- 
lighted with  his  gentlemanly  bearing,  his  ideas  of  style,  and  his 
delicate  and  intelligent  discriminations.  The  choir  library 
(thanks  to  the  generosity  of  publishers)  was  very  large ;  and 
the  singers  must  now  be  tasked  upon  the  very  highest  speci- 
mens of  the  art.  Splendid  concerts  and  oratorios  must  be 
given  in  the  long  winter  evenings  for  the  public  gratification. 
"  People  will  have  amusements,"  it  was  said,  "  and  what  could 
be  more  harmless  and  more  beneficial  than  such  exhibitions  of 
skill !" 

Such  an  exclusive  attention  to  concert  and  oratorial  selec- 
tions, however,  was  encouraging  a  general  fondness  for  music 
of  a  high  rhapsodic  character,  such  as  is  adapted  to  dramatic 
interest  and  artistic  display.  Selections  in  psalmody  soon  man- 
ifested the  same  characteristics.  But  the  people  were  delighted 
with  the  style.  Their  interest  in  the  music  was  manifestly  in- 
creasing. The  performances  at  church  were  "  remarkably  ef- 
fective." Countenances  would  glow  with  animation,  and  eyes 
would  be  suffused  with  tears.  And  there  would  often  be  wit- 
nessed the  deep  impressions  of  solemnity. 

For  awhile  the  teacher  was  entirely  satisfied.  Such  tokens 
of  feeling,  he  thought,  were  unequivocal.  The  people,  no  doubt, 
were  as  distinguished  for  religious  susceptibility  as  for  refine- 
ment in  musical  taste.  But,  as  he  grew  more  intimately  ac- 
quainted with  individuals,  he  began  to  suspect  that  all  was  not 


SABBATH  CONCERTS.  113 

right.  Such  evidences  of  feeling  usually  betoken  a  revival  of 
religion — vet  the  present  was  a  season  of  sad  religious  declen- 
sion. And  how  did  it  happen  that  all  classes,  young  and  old, 
saints  and  sinners,  were  affected  nearly  alike?  That  would 
seem  to  prove  that  the  influences  were  chiefly  sympathetic. 
How  did  it  happen,  too,  that  the  choir  were  so  given  to  senti- 
mentality 1  Emotional  tokens  were  transient.  They  were  not 
accompanied  with  deep  seriousness.  They  evidently  had  more 
relation  to  taste  than  to  spiritual  worship.  Professors  of  relig- 
ion, among  their  numbers,  would  seem  to  rush  irreverently 
into  the  divine  presence,  with  such  momentous  expressions  as 
would  have  faltered  upon  the  lips  of  prayer ;  and  they  would 
often  be  so  absorbed  by  the  music,  as  to  be  paying  homage  to 
the  achievements  of  art,  instead  of  holding  solemn,  spiritual 
communion.  These  appearances,  too,  were  gradually  increas- 
ing with  the  progress  in  musical  improvement. 

The  teacher  was  distressed  with  the  state  of  things.  Could 
it  be  that  the  appearances  of  Christian  fervor  had  been  illusory  ? 
No  one  but  himself  had  any  suspicion  of  the  kind.  He  would 
make  more  careful  inquiries  among  the  people.  He  did  so ; 
but  not  to  his  own  relief.  The  people  were  like  the  choir. 
They  were  not  at  all  scrupulous  about  the  spirit  of  praise.  In 
the  time  of  prayer  they  were  watchful  and  self-suspicious ;  but 
when  the  songs  of  praise  arose,  they  gave  themselves  up 
to  the  influence  of  fine  music,  with  little  thought  of  personal 
responsibility.  If  the  music  affected  them  agreeably,  they  in- 
quired no  farther ;  if  it  failed  to  do  so,  the  performances,  for 
once,  had  been  unsuccessful.  As  to  the  exact  nature  of  their 
feelings,  there  had  been  little  inquiry.  Good  music,  they  said, 
fitted  the  mind  for  devotion.  It  made  them  "enjoy  them- 
selves," and  "  shed  a  delightful  influence  over  the  ether  exer- 
cises." 


114  SABBATH   CONCERTS. 

His  suspicions  were  fully  confirmed.  He  had  been  giving 
Sabbath  concerts  he  said,  during  the  solemn  hours  of  worship, 
while  the  good  people  had  been  engaged  as  amateurs.  And 
then  he  thought  of  the  proverbialisms  among  literary  men,  con- 
cerning the  superficial  nature  of  musical  impressions.  u  Can  it 
be  that  the  pretensions  of  the  art  are  fictitious  1  If  the  highest 
specimens  produce,  in  a  religious  assembly,  such  influences  as 
are  undevotional,  what  can  we  say  as  to  the  utility  of  the  art  ?" 

In  his  perplexity  he  repaired  to  the  residence  of  his  pro- 
fessional friend,  and  freely  unbosomed  himself.  A  second  dia- 
logue ensued,  which  led  to  the  happiest  consequences.  Various 
topics  came  under  consideration.  Sacred  music,  technically 
considered,  consists  of  two  departments — the  artistic  and  the 

devotional.     The  people  at  P had  always  confounded  this 

distinction.  They  had  endeavored  to  worship  on  merely  aesthetic 
principles.  This  was  fundamentally  wrong.  The  orror  must 
be  fully  exposed  and  corrected.  Refinement  does  not  always 
proceed  in  the  most  profitable  directions.  In  church  music  it 
finds  an  ample  field  within  the  limits  of  chaste  simplicity,  em- 
bracing many  things  which  the  mere  artist  disregards.  And, 
finally,  there  must  be  adequate  religious  instruction  in  rehearsals 
of  church  music.  "  You  now  perceive,"  said  the  friendly  adviser, 
"the  importance  of  the  principle  I  formerly  stated  to  you. 
Artistic  drilling  produces  artistic  mental  associations.  Unless 
you  can  obviate  this  evil  in  the  way  I  have  suggested,  the  influ- 
ences you  so  much  deprecate  will  become  manifest  to  others, 
and  ultimately  produce  an  unfavorable  reaction.  Now  is  your 
time  for  effort.  Be  prompt,  yet  prudent  and  prayerful,  and  I 
trust  you  will  be  rightly  directed." 

The  advice  was  timely.  The  teacher  returned  to  his  work 
with  alacrity,  and  soon  a  great  change  became  manifest.  The 
good  people  awoke  to  feelings  of  personal  responsibility,  and 


SABBATH   CONCEKTS.  115 

began  the  work  of  self-examination.  The  interest  now  was  re- 
ceiving a  more  definite  and  satisfactory  direction;  and  while 
there  was  no  decrease  in  skill,  there  was  a  great  increase  in 
devotion,  which  made  their  singing  really  efficient  in  a  religious 
point  of  view. 


XX. 

RIVAL   LEADERS  RECONCILED. 

"  Mind  not  high  things,  but  condescend  to  men  of  low  estate."— Romans,  13:  16. 

The  church  of  O is  situated  in  a  wealthy  farming  dis- 
trict, in  one  of  the  largest  of  the  "  Middle  States."  The  con- 
gregation has  worshipped  there  for  more  than  half  a  century, 
with  a  good  measure  of  prosperity.  The  choir,  however,  were 
not  remarkable  for  unanimity,  until  they  became  settled  upon 
a  substantial  Christian  basis. 

Their  trials  were  peculiar.  Two  individuals,  the  one  a  thriv- 
ing merchant,  and  the  other  a  man  of  letters,  were  for  many 
years  the  only  persons  deemed  capable  of  giving  direction  to 
the  music.  Both  of  them  were  influential  men,  and  professors 
of  religion.  They  esteemed  each  other,  and  could  act  kindly 
together  on  all  subjects  but  one.  In  their  taste  for  music  there 
was  an  entire  disagreement.  Each  had  too  high  an  idea  of  his 
own  acquirements.  It  was  not  an  ebullition  of  vanity  that  in- 
fluenced them,  but  an  honest,  deep-seated  persuasion  of  talents 
which  ought  to  be  rendered  useful.  There  was  no  desire  for 
emolument.  Nor  was  the  position  of  chorister,  on  the  whole, 
an  enviable  one.  But  the  music  ought  to  be  sustained  in  the 
best  possible  manner.  Each  was  willing  to  labor  and  make 
personal  sacrifices,  if  he  might  do  so  according  to  his  own  no- 
tions of  propriety.     But  there  was  no  acting  in  concert.     They 


RIVAL   LEADERS   RECONCILED.  117 

could  agree  to  differ,  and  be  mutually  patient,  but  nothing  far- 
ther. There  was  no  umpire  to  decide  between  them.  Both 
were  inflexible,  and  both  were  beloved  by  the  congregation. 
No  alternative  was  left,  therefore,  but  to  give  each,  in  turn,  the 
sole  direction  for  a  limited  period,  as  a  kind  of  experiment. 
This  was  a  constant  source  of  uneasiness,  for  whichever  of  the 
individuals  had  the  temporary  ascendency,  he  would  endeavor 
to  gain  the  most  adherents,  while  the  other,  like  a  shrewd  poli- 
tician, would  be  operating  against  his  influence.  There  was  no 
bitterness  or  clamor.  There  was  nothing  unmanly  or  disingen- 
uous. But  there  was  criticism,  which,  whether  right  or  wrong 
in  point  of  accuracy,  had  just  enough  of  inquietude  attending 
it,  to  mar  those  social  influences  which  favor  the  growth  of 
spirituality,  and  prevent  the  progress  of  refinement  in  taste. 
After  all,  the  grounds  of  the  difficulty  were  comparatively 
slight.  They  were  not  well  understood,  except  by  the  parties 
themselves.  A  little  yielding  on  either  hand  would  have  brought 
them  together,  to  the  great  gratification  of  the  people. 

But  who  that  has  any  pretensions  to  art,  can  fail  to  be  on  the 
defensive  when  his  taste  is  called  in  question  ?  It  is  as  if  he 
were  accused  of  deficiency  in  judgment,  or  wit,  or  discernment. 
Christian  principle  kept  the  parties  from  all  appearance  of  con- 
tention, but  it  did  not  make  them  happy  in  the  praises  of  Zion. 
There  was  just  enough  of  unpleasant  feeling  between  them  to 
neutralize  taste,  and  prevent  devotion.  Preaching  and  prayer, 
among  that  people,  were  attended  with  the  usual  results,  while 
praise  seemed  at  all  times  an  unprofitable  exercise. 

But  how  were  the  unhappy  tendencies  of  this  difficulty  to  be 
counteracted  1  They  were  not  a  suitable  subject  for  discipline, 
because  the  parties  were  honest  and  conscientious.  No  accusa- 
tion could  be  brought  against  them  either  of  discourteous  con- 
duct or  unchristian  feeling.     Simple  unhappiness  in  regard  to 


118  RIVAL  LEADERS  RECONCILED. 

"  affairs  of  taste,"  was  a  thing  "  to  be  regretted,  rather  than 
blamed."  The  pastor  gave  instructions  relative  to  praise  as  a 
Christian  duty,  out  these  were  of  a  general  character,  lest  he 
should  seem  to  favor  either  one  of  the  parties.  He  spoke  of 
the  necessity  of  skill,  but  was  silent  as  to  the  method  of  apply- 
ing it.  He  showed  that  taste  was  necessary,  but  avoided  all 
specific  illustrations.  He  insisted  on  the  maintenance  of  a 
spirit  of  praise,  but  could  not  tell  how  this  was  to  be  done  in 
connection  with  musical  practice.  His  ideas  in  reference  to 
this  topic  were  greatly  confused,  for  the  undue  pretensions  of 
art  had  not  yet  been  exposed.  It  was  imagined  that  good  mu- 
sic, however  obtained,  must  possess  some  inherent  efficiency 
which  would  be  available.  The  strong  influence  of  social  feel- 
ings and  mental  associations  upon  music,  was  not  then  under- 
stood, nor  did  it  occur  to  any  one  that  music  for  religious  pur- 
poses, should  be  cultivated  in  a  religious  manner.  Schools  and 
rehearsals  were  indeed  conducted  with  becoming  gravity,  but 
the  drilling  was  artistic,  and  no  special  attention  was  bestowed 
on  the  training  of  emotions,  or  on  the  preservation  of  spirit- 
uality. Under  all  the  attending  circumstances,  therefore,  it  was 
not  wonderful  that  the  people  derived  little  benefit  from  the  ex- 
ercises of  praise.  And,  not  experiencing  tne  utility  of  music, 
where  would  be  the  advantage  in  promoting  it  1  They  knew 
that  it  ought  to  be  decently  sustained,  but  as  yet,  it  had  been 
too  barren  of  results  to  awaken  general  interest.  From  year 
to  year  there  was  no  increase  of  skill  or  visible  improvement 
in  taste  or  spirituality.  In  all  these  respects  it  might  rather  be 
said  there  was  a  gradual  decline. 

But  an  important  change  was  at  hand.  The  literary  man 
was  one  day  stating  his  grievances  to  an  intelligent  Christian 
friend,  who  lived  at  a  distance,  and  had  known  nothing  of  the 
matter.     The  friend  finally  suggested  to  him  a  remedy  which 


RIVAL  LEADERS   RECONCILED.  119 

would  prove  effectual.  "  The  parties,"  said  he,  "  must  come 
together  on  some  plan  of  mutual  co-operation.  This  is  indis- 
pensable. The  irritation  of  feeling  must  forever  cease.  It  is 
wrong.  Taste  can  never  be  promoted  without  feelings  of  una- 
nimity, nor  can  it  by  any  possible  process  be  suddenly  super- 
induced, especially  upon  the  merchant,  who  is  now  for  a  season 
to  be  the  leader.  His  taste  after  all  must  be  quite  equal  to  that 
of  the  community  around  him,  or  they  would  manifest  less 
satisfaction  with  his  direction,  and  give  you  the  decided  prefer- 
ence. Others  are  not  so  well  informed  as  you  are.  The  peo- 
ple, therefore,  pay  deference  to  your  views  as  long  as  you  have 
charge  of  the  music.  But  blind  acquiescence  in  the  decisions 
of  an  acknowledged  superior,  is  of  little  avail  in  the  promotion 
of  taste.  Something  far  different  is  demanded  for  such  a  purpose. 
This,  my  friend,"  said  he,  '''you  can  fully  understand.  Your  own 
experience  should  teach  you  this  lesson.  You  can  never  in 
this  way  elevate  the  standard  of  taste,  for  the  thing  is  impossi- 
ble." 

"  What,  then,  would  you  advise  ?"  said  the  complainant. 

"You  must  condescend,"  he  replied.  "You  must  do  it  thor- 
oughly. You  must  do  it  heartily,  affectionately,  and  in  a  truly 
Christian  spirit." 

"  Why  should  I  do  this  in  matters  of  taste  V 

"  Because  it  is  needful.  You  must  begin  at  the  foundation 
of  things  and  build  upward.  The  taste  of  the  people  must  be 
so  far  consulted  as  to  secure  on  their  part  an  intelligent  inter- 
est in  the  music  placed  before  them ;  and  must  be  led  onward 
in  refinement  so  gradually,  as  to  secure  a  well-ordered  and  sub- 
stantial growth  of  improvement." 

At  such  advice  as  this,  the  complainant  was  confounded. 
Based  upon  his  own  representations,  and  given  with  intelligence 
and  Christian  simplicity,  it  seemed  for  a  moment  unanswerable. 


120  RIVAL   LEADERS   RECONCILED. 

But  at  length  recovering  himself,  he  resumed  the  discussion. 
"  Music  is  an  art.     Its  principles  are  inviolable."' 

"  So  is  oratory  an  art,"  replied  his  friend.  "  Yet  we  all  ad- 
mit, in  a  religious  assembly,  the  principle  for  which  I  am 
pleading.  He  who  would  speak  to  the  purpose  in  a  religious 
assembly,  must  not  only  render  himself  intelligible.  He  must 
stand  clear  from  all  suspicion  of  artistic  emulation  or  love  of 
display.  Music,  in  the  office  of  praise,  is  but  another  form  of 
verbal  enunciation  applied  to  the  most  solemn  words  which  ever 
fall  from  human  lips." 

"  And  what  would  you  say  in  reference  to  poetry  1  Would 
you  mar  its  diction,  and  violate  its  imagery,  and  interrupt  the 
sweet  flow  of  its  numbers  in  accommodation  to  the  public  ear  !" 

"  This  would  not  be  necessary.  But  if  I  were  to  make  poetic 
selections  for  public  worship,  I  should  choose  such  pieces  as  are 
distinguished  for  chaste  simplicity." 

"  You  would  never  approve  of  doggrels." 

"Not  exactly.  Yet  if  the  people  were  attached  to  such 
things,  and  had  connected  them  intimately  with  cherished  enjoy- 
ments and  remembrances,  I  should,  for  a  time  at  least,  be  cau- 
tious in  my  interference." 

"  Painting,  as  an  art,  will  not  admit  of  such  a  principle  of 
accommodation." 

"  Painting  is  not  essential  to  the  maintenance  of  public  wor- 
ship. If  it  were  so,  we  should  be  bound  to  select  just  such 
specimens,  among  those  at  hand,  as  would  prove  the  most 
available.  To  begin  with  the  master-pieces  of  an  Angelo,  a 
Titian,  or  a  West,  would  be  preferring  taste  to  spirituality,  and 
gratifying  ourselves  at  the  disadvantage  of  others." 

"  But — there  is  something  enobling  in  the  arts." 

"  Not  to  him  who  is  ignorant  of  them,  especially  in  the  ser- 
vices of  the  sanctuary." 


RIVAL   LEADERS   RECONCILED.  121 

'•Music  is  intrinsically  beneficial." 

"So  is  painting,  so  is  poetry,  and  so  is  oratory.  Yet  any  one 
of  these,  when  misapplied,  may  prove  injurious  to  our  devo- 
tions. The  same  is  true  of  the  misapplications  of  music.  Taste 
is  a  valuable  thing  in  religion  only  when  made  subservient  to 
spirituality.*" 

Here  the  conversation  changed,  but  the  brief  argument  had 
done  its  work.  Important  views  had  been  communicated,  and 
the  Bible  was  found  to  sustain  them.  The  truth  now  Sashed 
upon  the  mind  of  the  complainant,  that  he  had  been  dispropor- 
tionately solicitous  for  the  pleasures  of  refinement  in  taste.  The 
resolve  was  formed.  He  called  upon  the  merchant  who  was 
now  leader  of  the  choir,  and  told  him  that  he  would  waive  all 
points  of  difference,  and  lend  him  his  kind  and  hearty  co-opera- 
tion ;  for  he  feared  they  had  both  sinned,  in  thinking  more  of 
the  manner  than  of  the  spirit  of  praise.  The  merchant  was 
surprised.  The  acknowledgment  was  unexpected.  The  meet- 
ing was  a  melting  one.  The  two  brethren  wept,  and  com 
and  prayed  together.  Thenceforward,  in  the  work  of  improve- 
ment, they  went  hand  in  hand :  and  the  progress  of  skill,  of 
taste,  and  of  spirituality,  soon  became  manifest.  There  was  no 
more  trouble.  Information  increased.  Right  views  of  respon- 
sibility were  inculcated;  and  the  music  of  the  choir  became  re- 
markably fine  and  impressive  as  an  instrument  of  devotion. 

Many  a  choir  and  congregation  at  the  present  time  might 
derive  a  useful  lesson  from  the  preceding  sketch.  Artistic 
influences  are  too  liable  to  take  the  place  of  better  things. 

6 


XXI. 

TASTE  IMPROVES  BUT  SLOWLY. 

"  Owing  more 
To  want  of  judgment  than  to  wrong  design."— Cowper. 

Few  villages,  in  this  Western  world,  are  more  pleasantly 

situated  than  that  of  H .     It  lies  on  the  margin  of  a  broad 

and  beautiful  lake,  whose  crystal  waters  are  seldom  bound  by 
the  hand  of  winter.  The  situation  is  remarkably  fine,  and  the 
surrounding  scenery  delightful.  The  village  is  distinguished 
for  intelligence,  wealth,  and  refinement,  and  contains  many  no- 
ble residences.  In  its  earlier  days,  it  was  noted  for  the  excel- 
lence of  its  church  music.  It  could  then  boast  of  several  fine 
singers,  whose  performance  of  psalms,  anthems,  and  motets,  at 
the  brick  church,  were  unequalled  among  the  neighboring  vil- 
lages. And  what  was  still  better,  these  individuals  were  pro- 
fessors of  religion,  and  they  always  delighted  to  shed  around 
them  the  influences  of  evangelical  piety. 

Most  of  the  congregation  at  that  time,  however,  were  com- 
paratively indifferent  to  the  music,  and  ignorant  of  the  labor 
and  expense  which  were  required  in  sustaining  it.  It  was  skilful, 
and  they  praised  it.  It  became  popular  among  men  of  taste, 
and  they  were  gratified  with  its  high  reputation.  But  they  did 
not  seem  to  appreciate  it,  either  as  worshippers  or  amateurs. 
Its  most  interesting  features  were  lost  to  them  ;  and  they  were 


TASTE    IMPROVES   BUT   SLOWLY.  123 

deaf  to  its  most  impassioned  appeals.  They  were  also  very 
backyard  as  to  pecuniary  appropriations.  All  this  was  a  seri- 
ous drawback  upon  the  enjoyments  of  the  choir ;  yet  the  latter 
waited  patiently  in  the  hope  of  better  things  to  come. 

The  choir  became  famous  for  its  well-ordered  arrangements, 
its  sound  principles,  and  its  excellent  performances,  and  they 
greatly  enjoyed  the  singing  as  a  devotional  exercise.  Rehearsals 
were  usually  conducted  in  a  Christian  manner  ;  and  from  time 
to  time,  individuals  who  attended  them  from  motives  of  taste, 
would  find  there  "  the  pearl  of  great  price."  and  become  pro- 
fessors of  religion.  This  was  encouraging.  To  be  admitted 
among  the  members  of  such  a  choir  was  an  enviable  privilege. 
For  it  was  a  place  of  much  personal  enjoyment ;  and  the  bless- 
ing of  God  was  descending  upon  it. 

But  the  anticipated  improvement  among  the  people  was  long 
delayed.  Taste,  as  a  general  thing,  was  making  no  progress  ; 
and  there  was  very  little  advance  in  pecuniary  appropriations. 
This  was  trying.  It  seemed  unaccountable.  ':  What  dulness  ! 
What  insensibility  !  What  narrowness  of  policy  in  musical 
matters  !"  But  it  was  useless  to  complain.  The  people  did 
their  duty  in  other  respects ;  and  in  a  more  general  point  of 
view  might  be  regarded  as  liberal  and  enterprising.  Could  it 
be  that  their  want  of  taste  was  the  result  of  physical  or  men- 
tal disabilities  ? 

Several  years  had  elapsed,  and  a  change  was  now  approach- 
ing ;  but  not  such  a  one  as  had  been  fondly  anticipated.  The 
chorister,  on  whom  so  much  had  depended,  was  called  to  some 
distant  part  of  the  country  ;  and  no  one  had  been  prepared  to 
take  his  place.  The  person  who  now  temporarily  officiated  was 
regarded  as  incompetent.  Several  of  the  leading  singers,  one 
by  one,  were  vacating  their  seats  ;  some  by  removals  from  the 
place,  some  by  death,  and  some  through  discouragement.    Then 


124  TASTE   IMPKOVES  BUT  SLOWLY. 

was  the  time  for  efficient  action  among  the  church  and  people  : 
but  nothing  would  rouse  them.  "  Singing,"  they  said,  "  would 
sometimes  decline  ;  and  afterward  have  its  seasons  of  revival." 
"  This  was  to  be  expected."  The  subject,  therefore,  excited  lit- 
tle concern  ;  and  nothing  was  done  to  prevent  the  most  rapid 
deterioration  of  the  music.  The  singing  had  prospered  many 
years,  with  little  aid  from  the  congregation  ;  and  now  it  was 
destined  to  a  protracted  decline.  The  cause  of  the  decline  was 
not  fully  understood.  It  was  attributed  wholly  to  the  loss  of 
their  remarkable  chorister.  Yet  other  choristers  might  have 
been  obtained,  who,  though  less  self-denying  in  their  efforts, 
would  have  been  competent  to  sustain  the  music  and  lead  on- 
ward to  farther  improvement.  This  measure  was  suggested  by 
the  singers  ;  but  it  would  be  attended  with  some  trouble  ;  and 
would  require  larger  pecuniary  appropriations  than  had  been 
usual.  So  the  measure  was  abandoned.  The  declension  was 
rapid.  A  few  fitful  exertions,  occasionally  put  forth,  were  in- 
sufficient to  stay  its  downward  course  ;  and  in  a  few  years  the 
music  became  as  remarkable  for  its  rudeness,  as  it  formerly  had 
been  for  its  skill  and  refinement. 

But,  at  length,  there  was  a  general  dissatisfaction.  The  choir 
were  disbanded,  and  the  singing  quietly  assumed  the  congrega- 
tional form.  Many  sitting  in  the  assembly,  had  at  some  for- 
mer time  been  members  of  the  choir.  Accustomed  so  long  to 
sing  from  principle  as  personal  worshippers,  they  would  not 
now  sit  in  silence.  Their  feelings  of  taste  were  violated,  but 
they  would  fall  in  with  the  majority,  and  do  their  utmost  in  aid 
of  the  new  arrangement.  The  experiment  for  awhile  succeed- 
ed nobly.  Tunes  which  were  plain  and  simple,  and  which  all 
could  attempt  to  sing,  were  introduced  with  new  effect.  Taste 
had  levelled  down  to  so  low  a  grade,  that  the  dullest  of  the  dull 
could  begin  to  enjoy  the  exercise.     The  people  awoke  from 


TASTE  IMPROVES  BUT  SLOWLY.         125 

their  long  period  of  indifference,  and  "  improved  their  privilege." 
The  singing  seemed  eminently  devotional.  The  minority  who 
had  taste,  were  not  a  little  disquieted  by  the  jargon  ;  but  they 
sung  on,  courageously,  in  self-defence,  hoping  for  ultimate  re- 
lief from  some  unseen  cause. 

When  the  novelty  of  the  arrangement  had  expended  itself,  it 
became  evident  to  all  that  instruction  was  needed.  Rehearsals 
were  appointed,  but  the  worst  singers  would  not  find  it  conve- 
nient to  attend.  A  school  was  opened  for  the  entire  congrega- 
tion, but  most  of  the  seats  were  unoccupied.  Children  were 
benefited,  and  a  few  who  had  once  been  singers  regained  in 
some  measure  what  they  had  lost  by  neglect  of  practice.  This 
rather  made  the  case  worse.  And  as  the  singing  was  still  de- 
teriorating, there  seemed  little  encouragement  for  continuing 
the  school.  Meanwhile,  the  badness  of  the  music  became  a 
general  subject  of  remark.  Once,  by  its  excellence,  it  drew 
people  "  under  the  sound  of  the  gospel,"  many  of  whom  would 
be  spiritually  benefited  ;  now  it  had  the  opposite  tendency  of 
driving  people  away.  The  congregation,  too,  had  on  this  ac- 
count lost  several  of  its  valued  members.  At  some  former 
time,  the  house  of  worship  had  been  so  crowded,  that  there 
were  serious  thoughts  of  colonizing  for  a  second  church  ;  now, 
so  many  had  gone  to  other  denominations,  that  individuals 
could  not  be  spared  for  such  a  purpose.  All  this  was  attrib- 
uted to  the  influence  of  bad  singing.  One  good  thing,  however, 
was  effected.  The  former  neglecters  of  the  art  had  acquired  an 
important  habit,  that  of  employing  their  own  voices  in  the 
praises  of  God.  The  style  of  their  singing  was  sufficiently  bad, 
as  might  be  imagined,  after  so  many  years  of  entire  neglect ; 
but,  now  they  were  personally  enlisted  into  the  service,  and 
were  beginning  to  enjoy  some  of  its  pleasant  influences.  This, 
on  the  whole,  was  an  important  point  gained  ;  for  persons  who 


126         TASTE  IMPROVES  BUT  SLOWLY. 

would  become  interested  in  a  good  cause,  should  have  something 
to  do  in  its  promotion. 

But  the  bad  singing  could  not  be  long  endured.  The  people 
grew  ashamed  of  it.  Before  one  year  had  elapsed  under  the 
new  arrangement,  it  became  evident  that  a  choir  was  necessary. 
Rehearsals  and  schools  had  failed,  and  no  other  remedy  could 
be  devised  to  stay  the  progress  of  deterioration.  A  man  of 
little  skill  and  of  moderate  standing  in  the  community,  was 
employed  for  this  purpose,  who  drew  around  him  a  few  indi- 
viduals of  a  similar  class,  and  lead  them,  after  a  few  rehearsals, 
into  the  deserted  seats  of  the  gallery.  But  what  a  choir! 
They  had  no  taste,  and  but  little  skill.  Their  singing  was  mere 
burlesque  compared  with  that  of  the  other  choir,  which  was 
still  remembered  by  people  of  taste.  Yet,  though  such  per- 
formances could  affect  little  improvement,  they  kept  the  music 
for  awhile  from  deteriorating  as  rapidly  as  it  had  done  while 
there  was  only  congregational  singing.  In  a  year  or  two 
another  chorister  was  appointed,  whose  talents  were  a  grade 
higher.  His  charges  were  moderate,  but  his  labors  were  un- 
satisfactory. Having  neither  piety,  nor  polish  of  manners,  nor 
general  information,  his  efforts  were  beneficial  chiefly  to  children 
and  to  adults  of  his  own  class  in  society.  The  choir  became 
enlarged  as  to  numbers,  and  began  to  act  with  some  success 
upon  the  singing  below.  The  old  members  of  the  former  choir 
were  sorry  for  this.  They  had  anticipated  a  very  different  re- 
sult ;  and  might  now  probably  have  to  wait  some  years  longer 
before  the  people  would  "come  to  their  senses."  The  im- 
provement, however,  was  too  slow  to  give  general  satisfaction. 
Unfavorable  comparisons  began  to  be  made  in  the  surround- 
ing villages,  between  the  present  and  the  former  choir,  which 
were  not  to  be  patiently  endured.  The  present  choir  was  not 
what  it  should  be.     It  ought  to  be  larger  and  more  effective. 


TASTE    IMPROVES    BUT    SLOWLY  127 

It  should  be  made  respectable  and  influential,  as  in  former 
years.  Another  movement  was  made,  when,  by  the  liberality 
of  the  people,  a  man  of  exceVJent  talent  was  employed,  on  a  salary 
which  enabled  him  to  give  as  much  time  to  the  subject  of  in- 
struction as  might  be  desirable.  Improvement  became  rapid 
and  substantial.  Large  classes  of  children  and  of  adults  were 
thoroughly  instructed.  The  choir  increased  in  numbers  and 
respectability,  and  improved  in  skill,  till  the  voices  of  the  con- 
gregation were  completely  under  their  control.  Bad  execution 
had  chiefly  disappeared  under  the  hand  of  culture  ;  and  many  of 
the  people  could  now  lift  up  their  voices  in  connection  with  the 
choir,  to  their  own  comfort,  without  injury  to  the  performances. 
Taste  had  taken  deep  root  among  the  people ;  and  all  classes 
were  pleased  and  benefited.  Liberality  increased,  till  there 
was  no  want  of  funds.  The  singing  continued  to  improve  both 
in  manner  and  spirit ;  and  there  was  no  longer  any  ground  to 
complain  of  musical  unsusceptibility  or  religious  indifference  in 
the  exercises  of  praise.  Never  before  had  the  exercises  seemed 
so  delightful  or  so  uniformly  impressive.  Arrangements  now 
became  permanent.  The  people  were  of  one  mind  upon  the 
subject;  and  once  more  their  example  gave  tone  to  church 
music  amid  the  surrounding  villages,  accompanied  everywhere 
with  spiritual  blessings. 

What  was  the  cause  of  that  sad  and  long-continued  declen- 
sion ]  The  singers  of  the  former  choir  were  conscientious,  self- 
denying,  persevering,  and  spiritual.  They  endeavored  to  dis- 
charge their  whole  duty,  so  fur  as  they  could  ascertain  it,  in  the 
fear  of  God ;  and  they  doubtless  met  with  His  gracious  accept- 
ance. They  were  never  once  at  strife  among  themselves,  or 
unmindful  of  the  interests  of  the  people.  They  were  patient 
when  treated  with  neglect ;  and  were  seldom  unduly  elated  by 
commendation.     They  felt  their  responsibility  as  Christian  wor- 


128  TASTE   IMPROVES   BUT   SLOWLY. 

shippers,  while  leading  the  devotions  of  others  in  the  house  of 
God.  Such  a,  choir,  so  talented,  so  intelligent,  so  faithful,  and 
so  persevering,  had  rarely  been  found.  They  ought,  doubtless, 
to  have  been  better  sustained  by  the  kind  attention  and  liberal- 
ity, and  co-operation  of  the  people ;  and  more  especially  so  at 
that  trying  crisis,  when  their  excellent  chorister  was  withdrawn 
from  them.  It  was  due  to  them.  The  expectation  of  such  sup- 
port was  perfectly  natural. 

But,  on  the  other  hand,  that  choir,  like  many  a  similar  as- 
semblage at  the  present  period,  overlooked  a  very  important 
principle  in  their  practical  operations.  Instead  of  regarding  the 
lack  of  taste,  and  conception,  and  musical  feeling  among  the 
people,  as  an  incurable  evil,  to  be  endured  with  Christian  pa- 
tience, they  should  have  devised  some  other  remedy  than  that 
of  the  extremest  process  of  superinduction.  Such  a  process,  in 
matters  of  taste,  was  never  yet  known  to  succeed.  People  may 
be  gradually  lead,  as  their  experience  and  observation  have 
time  to  ripen ;  but  they  can  never  be  hurried  blindly  onward 
in  paths  of  musical  improvement  and  susceptibility. 

The  reaction  was  inevitable.  It  might  from  the  first  have 
been  confidently  predicted.  It  had  also  its  advantages.  It  en- 
abled the  people  to  acquire  habits  of  activity  which  would  ever 
afterwards  prove  beneficial.  It  enabled  them  to  begin  at  the 
foundations  of  taste,  and  build  gradually  upward.  They  were 
then  learning  important  lessons  in  the  school  of  experience; 
and  would  at  length  become  personally  interested  and  liberal 
in  sustaining  the  music  of  the  church.  Once  they  looked  upon 
the  performances  as  upon  classical  speeches  in  a  dead  language, 
and  were  willing  the  declaimers  should  pay  for  their  own  learn- 
ing, as  being  the  persons  chiefly  benefited.  But  they  now  could 
feel  the  influence  of  what  was  sung,  and  understand  its  import- 
ance.    They  realized  at  length  the  true  value  of  church  music, 


TASTE   IMPROVES   BUT   SLOWLY.  129 

in  their  own  rich  experience.  Thenceforward  there  could  be  no 
difficulty.  The  latter  choir  stood  on  a  strong  and  permanent 
basis.  They  enlisted  the  taste  and  sympathy  of  the  people. 
When  they  performed  anything  which  was  difficult,  the  people 
sat  as  gratified,  intelligent  listeners,  and  when  the  latter  united 
their  voices,  they  were  found  to  do  so  with  increasing  skill  and 
discrimination.  This  led  the  people  to  prize  more  highly  the 
advantages  of  instruction  ;  and  now  as  they  become  dissatisfied 
with  their  own  utterances,  they  will  either  seek  for  improve- 
ment, or  consent  to  sit  as  silent  worshippers. 

The  reaction,  as  we  have  seen,  had  its  evils  as  well  as  its  ad- 
vantages. They  were  protracted  and  painful,  and  in  some  as- 
pects, permanently  injurious  to  the  interests  of  the  congrega- 
tion. All  these  might  have  easily  been  prevented  by  the  first 
choir,  if  they  had  better  understood  the  necessity  of  consulting 
the  actual  susceptibilities  of  the  people. 

6* 


XXII. 

NECESSITY  OF  GOOD  LEADERS. 

"O'er  the  side  stops  his  awkward  fist  he  flings."— Cawthorne. 

The  old  stone  church  in  the  densely-populated  town  of  N , 

which  lies  in  the  vicinity  of  the  wildest  mountain  scenery,  has 
always  been  remarkable  as  the  abode  of  pure  orthodoxy  and 
Christian  activity.  The  choir  of  that  church,  from  the  earliest 
organization,  embraced  right  views  of  duty,  and  endeavored 
faithfully  to  maintain  them  in  all  their  rehearsals  and  perform- 
ances. Among  the  members  were  some  of  the  pillars  of  the 
church,  whose  influence  was  greatly  beneficial.  If  the  choir 
would  sometimes  by  ill  habits  or  associations,  be  diverted  from 
the  strictest  rules  of  Christian  decorum,  they  would  soon  be  led 
to  restrain  their  wanderings.  They  were  easily  reclaimed  and 
kept  in  the  path  of  duty.  They  were  remarkable  for  unanimity 
and  kind  feeling.  They  knew  nothing  of  those  petty  bicker- 
ings and  jealousies  which  so  often  arise  in  the  absence  of  Chris- 
tian principle.  They  were  happy  among  themselves,  and  were 
well  sustained  by  the  good  feeling  and  liberality  of  the  congre- 
gation. 

But  nothing  in  this  world  is  perfect.  The  best  organizations 
cannot  always  exclude  trouble.  The  troubles  in  the  choir  of 
the  Stone  Church  were  occasioned  by  leaders,  who,  though  good 


NECESSITY  OF  GOOD  LEADERS.         131 

men,  were,  as  musicians,  incompetent  to  sustain  the  responsi- 
bilities they  assumed. 

The  first  one  who  officiated  was  not  destitute  of  skill,  but  he 
was  afflicted  with  partial  deafness.  His  drillings  would  do  more 
towards  strengthening  the  voices  than  keeping  them  in  tune. 
He  was  zealous  as  he  should  have  been  in  promoting  vocal  de- 
livery ;  but  making  his  own  ear  the  criterion  of  the  utterances, 
he  rendered  the  harsh  elements  of  the  consonants  too  painfully 
prominent.  The  whistling  of  sibilants,  the  puffing  of  aspirates, 
and  the  muttering  and  murmuring  of  other  elements,  were  so 
extreme  as  to  fatigue  the  singers,  and  mar  the  beauty  of  the 
language.  The  enunciation  was  labored  and  rough.  These 
difficulties  were  sufficiently  regretted,  but  as  no  better  leader 
was  at  hand,  they  were  endured  for  several  years,  although  a 
hinderance  to  the  progress  of  taste,  and  a  blight  upon  the  sus- 
ceptibilities of  Christian  enjoyment.  At  length  they  felt  com- 
pelled to  look  for  and  obtain  a  new  chorister. 

He  was  not  afflicted  with  deafness ;  but  the  loudness  of  his 
tones  in  speech  and  in  song  would  suffice  almost  to  bring  that 
affliction  upon  others.  He  was  not  remarkable  for  modest  re- 
serve. He  was  always  ready  to  "  show  off"  his  small  amount 
of  knowledge  for  the  benefit  of  those  around  him ;  and  he  had 
a  dogmatical  way  of  doing  it,  that  was  quite  ridiculous.  He 
was  greatly  scandalized  by  "  the  hissing,  and  buzzing,  and 
wheezing"  of  the  singers.  They  could  "  'nunciate  well  enough, 
without  so  much  fuss  with  the  letters."  He  would  have  them 
"always  mind  the  beat,  and  keep  time" — "right  up  to  the 
mark" — "  mind  the  legater  and  stacater" — "  put  on  the  swell 
and  diminish" — "short  at  the  small  rests" — &c,  breaking  in 
with  the  words  of  command  in  loud  potentials,  amidst  the  strains 
of  the  practice-room,  as  if  he  had  been  a  militia  captain  on  a 
day  of  general  muster.     This  method  was  so  habitual  with  him, 


132         NECESSITY  OF  GOOD  LEADERS. 

that  he  could  not  wholly  refrain  himself  upon  the  Sabbath. 
The  singers,  he  said,  were  people  who  knew  how  to  sing  with 
the  Spirit,  and  he  would  "  be  on  the  look-out  for  style."  So 
the  hymns  in  the  seasons  of  worship  would  be  continually  ac- 
companied by  his  hackneyed  potentials,  in  audible  whisperings, 
just  as  if  drilling  and  devotion  were  congenial  exercises. 

We  are  aware  that,  in  every  act  of  social  worship,  some  at- 
tention mnst  be  paid  to  manner.  This  is  needful  for  the  benefit 
of  all  who  are  present.  But  while  singing  in  the  solemn  as- 
semblyx  the  needed  suggestions  should  be  more  like  the  self- 
promptings  which  arise  in  prayer,  than  like  the  dictations  of  the 
class-room.  The  latter  would  be  decidedly  out  of  place.  This, 
however,  was  a  distinction  too  minute  for  the  apprehension  of 
the  enterprising  leader.  He  was  "  bound  to  be  thorough." 
"  Every  one,"  he  said,  "  must  have  his  own  way,  or  he  can 
never  work  to  advantage."  The  choir  submitted,  for  awhile, 
to  the  only  alternative;  but,  as  the  whisperings  grew  more 
troublesome,  and  began  to  be  complained  of  by  the  congrega- 
tion, a  change  became  indispensable. 

The  third  incumbent  was  a  man  of  better  manners  and  sounder 
judgment.  His  deportment  was  kind  and  affable.  He  knew 
something  of  style  and  adaptation,  and  though  gentle  in  spirit, 
was  full  of  energy.  He  had  the  ardor  of  an  enthusiast.  He 
was  a  man  of  sincere  piety,  and  thought  much  of  promoting 
right  influences ;  yet  he  was  wanting  in  discrimination,  often 
mistaking  musical  sentiments  for  devotional  feeling. 

This  deficiency  was  first  noticed  in  the  practice-room,  where, 
in  connection  with  the  most  solemn  verbal  utterances,  his  atten- 
tion would  be  wholly  absorbed  by  the  music.  His  thoughts 
were  given  to  the  dynamics  of  the  art,  rather  than  to  the  liv- 
ing spirituality  of  the  consecrated  words,  which,  to  the  minds  of 
well-trained  singers,  would  instinctively  suggest  the  right  ex- 


NECESSITY  OF  GOOD  LEADERS.         133 

pression.  This  was  a  sin  of  ignorance  which  created  some  dis- 
comfort. But  a  further  difficulty  was.  that,  when  absorbed  in 
sentiment,  he  would  lose  the  command  of  his  own  voice,  sing- 
ing at  once  the  loudest  and  the  worst  of  everybody  around  him. 
This  was  sufficiently  troublesome  at  rehearsals,  where  his  prac- 
tices and  precepts  would  sometimes  be  sadly  at  war ;  but  at 
church  it  would  every  now  and  then  destroy  all  the  sweetness 
and  expression  of  the  performances.  When  apprized  of  this 
fault,  he  would  seem  to  regret  it,  but  said  it  was  natural  to  him. 
When  his  feelings  were  so  much  excited,  he  must  sing  out.  He 
could  not  restrain  himself.  He  was  not  impatient  under  kind 
reproof;  but  he  imagined  that  his  habits  were  incurable,  and 
that  they  could  not  prove  injurious,  to  any  serious  extent. 
"The  choir  must  not  expect  too  much  from  their  leader." 
"  No  one  perfect."  He  was  a  pleasant  man.  So  they  winked 
at  his  faults,  and  finally  parted  with  him  reluctantly. 

He  was  succeeded  by  a  man  who  always  sung  with  power. 
Dynamics  were  nothing  to  him.  His  tone  was  reedy  and  un- 
cultivated. He  could  "do  nothing  with  diminuendos."  His 
voice  must  either  break  or  go  at  full  blast.  He  had  no  ex- 
pression ;  and  very  limited  skill.  Every  tune  would  be  sung 
in  the  same  mechanical,  stereotyped  manner.  He  loved  sacred 
music,  and  entertained  Christian  views  respecting  it ;  but  this 
was  ail.  He  had  no  other  qualifications  as  leader.  The  sing- 
ers were  seriously  incommoded ;  and  during  the  year  of  his 
services  the  style  rapidly  declined. 

The  next  leader  was  a  remarkable  man.  He  was  not  want- 
ing in  skill  or  susceptibility.  He  had  more  talent  and  discrim- 
ination, and  more  tact  in  management,  than  either  of  his  pre- 
decessors. He  had  also  too  much  discernment  to  mistake 
musical  enthusiasm  for  religious  feeling.  Through  his  exertions 
the  singing  soon  revived.     He  secured  a  good  style  of  vocal 


Id4         NECESSITY  OF  GOOD  LEADEKS. 

delivery,  brought  the  choir  to  be  good  timists,  and  lead  them  to 
sing  with  more  taste  and  better  expression.  But,  unfortunately, 
he  was  of  an  irritable  temperament,  and  at  times  was  greatly 
deficient  in  self-control.  This  was  a  constant  source  of  solic- 
itude on  the  part  of  the  choir.  They  sought  to  keep  him  quiet, 
but  did  not  always  succeed. 

If  the  choir  were  punctual  at  the  rehearsals,  and  successful  in 
musical  practice,  he  would  usually  maintain  a  kind  and  cour- 
teous deportment,  and  render  everything  pleasant  around  him ; 
but  if  they  were  at  all  negligent  or  unsuccessful,  his  horizon 
would  be  sadly  overcast.  His  "  eyes  would  snap,"  his  speech 
become  hurried  and  gruff,  and  his  mutterings  as  stern  and  un- 
musical as  distant  thunder.  "  No  use  in  rehearsals" — "  always 
late" — "learn  nothing" — "sing  worse  and  worse" — "always 
out  of  time" — "  out  of  tune" — "  no  expression" — "  too  bad'1 — 
"no  business  to  sing  so" — "no  use  in  trying  to  lead  such  a 
choir" — "  always  something  out  of  joint."  This  habit  had  be- 
come second  nature  to  him.  Even  at  church  he  would  not 
always  refrain  himself.  If  the  singers  by  any  means  failed  to 
please  him,  he  would  grumble  in  hurried  pianissimos  between 
the  stanzas,  if  not  in  the  midst  of  a  tune — "  too  careless" — "  no 
business  to  sing  so" — "  miserable  expression" — "  no  use  in  try- 
ing"— "  sing  as  you  will" — "  won't  lead  such  a  choir" — "  I'll  be 
off  when  my  time  is  out." 

At  other  times,  the  leader  was  "  everything  that  could  be  de- 
sired." He  was  kind  and  condescending.  He  sang  with  pecu- 
liar sweetness  and  emotion.  He  led  the  music  with  becoming 
solemnity,  and  appeared  deeply  devout  and  sincere.  It  was  then 
a  great  privilege  to  be  near  him.  Yet  the  singers  were  afraid 
of  displeasing  him,  for  when  thrown  off  from  his  balance,  there 
was  "no  living  with  him,"  till  an  equilibrium  could  be  restored. 
He  knew  his  infirmity,  and  regretted  it  deeply,  sometimes 


NECESSITY   OF   GOOD   LEADEKS.  135 

•with  tears.  But  he  would  not  seem  to  be  the  same  man  in  the 
two  circumstances ;  nor  had  he  precisely  the  same  conscience. 
When  sorely  vexed,  the  evil  was  of  course  imputed  to  the  sing- 
ers. They  had  justly  offended  him ;  and  he  was  giving  them  a 
merited  rebuke.  It  was  right  that  he  should  be  a  thorn  in 
their  side  to  stir  them  up  to  duty.  It  was  only  when  the  par- 
oxysm was  over,  that  the  subject  would  appear  to  him  in  its 
proper  light. 

After  all,  he  was  an  interesting  man,  and  the  singers  loved 
him.  They  pitied  his  infirmity,  and  would  take  no  offence  at 
his  occasional  abuse.  The  singing  improved,  and  became  truly 
excellent.  It  was  often  connected  with  rich  enjoyment,  while 
the  leader  was  in  his  better  mood.  But  his  "  tantrums''  were 
increasing  in  frequency,  and  the  dreaded  paroxysms  were  grow- 
ing more  severe,  till  they  assumed  somewhat  the  appearance  of 
partial  insanity.  Some  suspected  him  of  inebriety ;  but  it  was 
difficult  to  substantiate  such  a  charge  in  days  when  moderate 
drinking  was  countenanced.  Probably  there  was  not  much 
ground  for  the  imputation.  But  the  injurious  suspicion  put  a 
period  to  his  usefulness,  and  at  the  close  of  his  second  year  the 
appointment  was  not  renewed. 

The  next  leader  was  an  entirely  different  man.  He  was  "  an 
easy,  good-natured  soul."  Everything  went  well  with  him.  He 
had  skill  and  discrimination  as  a  singer ;  but  as  a  leader,  he 
manifested  little  energy.  He  had  no  tact  or  shrewdness  in 
management.  He  seemed  to  be  one  of  those  good  men  who 
just  keep  the  breath  of  life  within  them,  but  have  little  indus- 
try, courage,  and  enterprise.  He  sung  rather  languidly,  drilled 
but  little  in  the  practice-room,  and  always  led  on  the  Sabbath 
as  if  he  was  following  at  the  dictation  of  the  singers.  He  was 
liable  to  be  drowTsy  in  sermon  time,  especially  after  "  a  hearty 
dinner,"  and  would  often  be  M  caught  napping"  when  the  hymn 


136         NECESSITY  OF  GOOD  LEADERS. 

was  given  out  from  the  desk.  Of  course,  he  was  no  leader. 
The  music  went  as  if  self-directed ;  and  before  the  year's  en- 
gagement closed,  was  sensibly  declining. 

But  what  was  now  to  be  done  1  Six  different  leaders  had 
been  tried,  not  one  of  whom  had  failed  to  become  a  serious 
drawback  upon  the  religious  enjoyments.  The  experiments 
had  been  tried  for  a  sufficient  term  of  years  to  show  that  some 
different  plan  should  be  adopted.  Some  were  now  in  favor  of 
giving  the  whole  direction  to  an  organist ;  but  where  would 
they  find  a  suitable  man  %  Others  said  that  musicians  are  al- 
ways troublesome ;  and  that  few  among  them  had  much  energy 
of  mind.  Those  were  slanders,  the  mere  offspring  of  prejudice. 
Others  still,  insisted  that  choirs  were  always  getting  into  trou- 
ble ;  and  that  no  plan  of  management  could  long  succeed.  These 
were  mistakes  ;  too  many  examples  of  comfort  and  stability 
could  then  be  adduced.  At  length,  the  true  secret  was  discov- 
ered. Choristers  should  be  thoroughly  instructed  and  trained 
for  their  employment,  and  then,  if  they  require  it,  be  paid  for 
their  services.  A  liberal  annuity  was  at  once  subscribed.  A 
man  every  way  qualified  for  this  position  was  secured ;  and  from 
that  day  forward,  the  troubles  of  the  choir  at  the  Stone  Church 
were  at  an  end. 

Few  congregations  in  the  country  are  willing  to  incur  the  ex- 
pense of  hiring  a  talented  leader.  Nor  will  this  always  be  ne- 
cessary. Children  should  be  universally  instructed  in  the  rudi- 
ments of  music ;  and  in  every  adult  singing-school  some  one  or 
more  individuals  may  easily  receive  special  training  as  leaders. 
This  plan  has  been  attended  with  happy  results. 


XXIII. 

A  CHOIR  CONVERTED. 

"  .Search  me  and  try  me."— David. 

The  late  Rev.  Mr.  B .  though  a  good  pastor,  and  a  suc- 
cessful preacher,  was  extravagantly  fond  of  literature  and  the 
arts.  He  listened  to  a  fine  piece  of  music,  just  as  if  he  was 
examining  the  masterly  productions  of  the  pencil  or  the  chisel, 
and  he  thought  no  more  of  the  artists  in  the  one  case  than  he 
did  in  the  others.     In  this  respect,  his  views  did  not  differ  from 

those  of  the  multitude  around  him.     The  church  of  C ,  of 

which  he  was  pastor,  regarded  the  music  of  the  choir  as  a  neces- 
sary concomitant  of  spiritual  worship,  but  not  as  a  direct  and 
solemn  expression  of  devotion.  The  young  people,  therefore, 
had  always  been  allowed  to  conduct  the  singing  according  to 
their  own  notions  of  propriety.  No  member  of  the  choir  was 
distinguished  for  piety,  and  there  was  little  feeling  of  religious 
obligation  regarding  the  office  of  praise.  But,  as  the  pastor 
was  fond  of  music,  he  would  often  be  present  at  the  rehearsals, 
and  close  the  exercises  with  "  a  few  words  of  prayer."  The 
singers  were  gratified  with  this  attention.  The  pastor's  affec- 
tionate spirit,  his  polished  and  condescending  manners,  together 
with  his  quick  appreciation  of  everything  tasteful  in  their  per- 
formances, had  completely  won  their  affections.     They  loved 


138  A   CHOIR  CONVERTED. 

him,  and  were  ever  ready  to  follow  his  advice.  They  were  re- 
markably united.  They  knew  no  troubles.  But  they  were 
fully  conscious  of  the  possession  of  skill,  and  when  the  pastor 
commended  them  for  their  improvement,  they  felt  as  if  they 
had  been  more  successful  than  might  have  been  expected. 
They  were  doing  a  great  work.  They  were  sustaining  an  im- 
portant portion  of  the  religious  services  in  a  very  creditable 
manner.  Instead  of  looking  inward  at  the  actual  state  of  their 
affections,  they  cast  their  eyes  upon  the  worshippers  before 
them,  to  feast  upon  their  smiles  of  approbation.  They  did  not 
pretend  to  be  worshippers,  but  fine  music  was  so  useful  and  so 
delightful,  that  even  the  eye  of  Heaven,  they  thought,  could 
not  look  upon  it  with  indifference. 

Was  there  anything  wrong  in  the  taste  of  the  beloved  pas- 
tor ?  He  was  tenderly  alive  to  the  spiritual  interests  of  his 
people.  Objects  of  taste  have  their  advantage,  even  to  the 
Christian.  In  the  teachings  of  one  who  could  not  err,  we  are 
referred  to  the  beauties  of  nature,  as  worthy  of  admiration  ; 
and  we  may  delight  in  the  flowers  of  the  field,  and  the  lilies 
of  the  valley,  without  inquiring  what  unsightly  objects  beneath 
the  surface  of  the  soil  may  have  contributed  to  the  vigor  and 
beauty  of  their  appearance.  And  we  often  go  to  the  exhibitions 
of  human  art  with  similar  feelings.  What  is  it  to  us  for  the 
moment,  whether  a  Madonna,  a  landscape,  or  a  statue,  has  been 
produced  by  a  holy  or  a  sinful  man  1  It  is  the  artist,  not  the 
man  we  admire.  We  are  astonished  at  his  powers,  and  are 
tempted  almost  to  award  to  him  the  honors  of  an  apotheosis. 
And  when  listening  to  an  oratorio,  the  object  is  to  enjoy  as  we 
may,  the  wonderful  skill  of  the  composer,  and  the  fine  talents 
of  the  performers.  And  we  can  be  gratified  with  these  exhi- 
bitions of  art,  without  inquiring  into  the  private  character  of 
those  to  whom  we  feel  so  much  indebted  for  our  gratification. 


A   CHOIK   CONVERTED.  139 

If  everything  appears  decent  and  orderly,  and  if  public  scandal 
has  not  set  its  mark  upon  any  of  the  individuals  before  us,  we 
inquire  no  farther.  We  feast  ourselves  with  the  entertainment ; 
and  fancy,  perhaps,  that  persons  who  sing  sacred  music  so 
sweetly,  must  have  "  the  root  of  the  matter"  within  them. 

It  was  precisely  thus  with  the  pastor  in  reference  to  the  per- 
formances of  the  choir.  Scarcely  an  individual  among  the 
members  was  a  professor  of  religion,  or  at  all  remarkable  for 
seriousness  of  deportment.  But  all  were  decent  and  orderly 
in  their  behaviour,  and  they  sung  with  remarkable  sweetness 
and  taste.  Many  people  of  high  standing  residing  in  that  place, 
had  thrown  their  influence  into  the  choir,  and  given  it  perma- 
nence and  respectability.  The  selections  of  psalmody  were 
from  the  best  sources,  and  all  were  gratified  with  the  excellence 
of  the  performances.  And  who  could  tell  ?  Many  who  sung 
so  expressively  the  great  themes  of  salvation,  might,  after  all, 
have  the  breath  of  spiritual  life  within  them,  though  they  knew 
it  not,  or  were  too  timid  about  making  the  acknowledgment. 
At  a  concert,  or  at  an  oratorio,  when  the  express  object  was 
amusement,  the  pastor  had  often  felt  the  kindlings  of  Christian 
susceptibility,  but  on  the  Sabbath,  this  experience  had  been 
more  uniform  and  satisfactory,  in  connection  with  the  songs  of 
praise ;  while  the  choir  would  appear  to  sympathize  with  him 
in  his  hallowed  susceptibilities,  as  if  they  really  understood 
them.  Here,  at  least,  he  imagined  there  was  ground  of  hope. 
Church  music  is  of  heavenly  origin.  It  is  intended  as  a  means 
of  grace  ;  and  how  easy  would  it  be  for  the  divine  Spirit  to  add 
his  converting  and  sanctifying  influences,  where  there  was  so 
much  preparatory  work  !  True,  he  was  grieved  at  the  world- 
liness  of  the  singers,  but  even  professors  of  religion  are  some- 
times ensnared  by  the  world.  The  choir  would  absent  them- 
selves from  the  weekly  lecture ;  yet  this  might  be  owing  to  the 


140  A   CHOIR   CONVERTED. 

miserable  singing  of  the  worshippers,  which  he  himself  could 
never  enjoy.  Their  taste  was  offended,  and  absence  was  their 
only  remedy,  Many  of  the  church  would  be  influenced  by 
considerations  which  were  less  excusable.  On  the  whole,  he 
would  "  hope  for  the  best ;"  and  he  doubted  not,  that  sooner  or 
later,  he  would  see  many  of  the  singers  come  out  from  the 
world,  and  unite  themselves  with  the  people  of  God. 

As  years  passed  on,  musical  taste  was  increasing  and  extend- 
ing itself.  Associations  were  formed  for  its  promotion.  Splen- 
did organs  were  procured  for  the  churches.  Concerts  were 
given  for  the  public  gratification.  On  these  occasions,  being 
often  called  upon,  the  pastor  of  the  C church  would  pre- 
pare himself  for  a  brief  lecture,  drawn  chiefly  from  the  annals 
of  taste.  As  a  Christian  minister,  he  was  bound  to  say,  that 
God  required  the  homage  of  the  heart  in  the  offerings  of  praises. 
But,  while  he  freely  admitted  this,  he  would  not  press  the  con- 
science very  strongly  in  such  seasons  of  amusement.  He  would 
speak  like  the  artist  and  the  amateur,  as  if  there  were  some- 
thing of  heavenliness  in  the  art  itself,  which  might  lead  the 
singers  ultimately  to  feel  as  they  should  do,  on  the  great  sub- 
ject of  religion.  This  hope,  so  comfortable  to  the  speaker, 
would  sometimes  reveal  itself  in  moments  of  inadvertency. 
The  singers  were  quick  to  discover  it.  There  was  little  probing 
of  the  conscience  in  this  matter,  and  many  an  impenitent  one, 
it  is  feared,  went  on,  singing  himself,  as  he  imagined,  into  the 
ultimate  privileges  of  a  Christian  immortality,  but  was  destined 
to  be  disappointed. 

The  choir  became  famous  for  talent  and  respectability  ;  but 
the  pastor's  hope  of  spiritual  blessing  was  long  deferred.  At 
length  he  was  removed  to  another  field  of  labor,  and  succeeded 
by  one  whose  views  of  church  music  were  more  evangelical. 
The  latter  was  a  wise  and  devoted  pastor,  ready,  in  the  apos- 


A  CHOIR  CONVERTED.  141 

tolio  sense,  to  become  "  all  things  to  all  men,"  that  he  might  be 
the  means  of  their  salvation.  He  was  fond  of  music.  He  at- 
tended schools  and  rehearsals,  as  often  as  might  be  consistent 
with  other  engagements ;  but  he  had  not  all  the  enthusiasm 
which  had  been  manifested  by  his  predecessor.  The  singers 
noticed  this  with  regret.  They  thought  him  lamentably  defi- 
cient. It  was  true  that  he  prayed  for  them  with  earnestness ; 
but  he  seldom  complimented  their  skill,  or  said  anything  which 
was  encouraging  to  self-esteem.  He  evidently  enjoyed  the 
music,  and  his  personal  attentions  were  sufficiently  kind ;  but 
why  was  he  so  sparing  in  his  commendations  1 

The  truth  was,  he  saw  that  self-esteem  must  be  undermined 
or  it  would  prove  ruinous.  It  could  never  lead  to  repentance 
or  faith  in  Christ.  He  could  not  trust,  for  one  moment,  to  any 
inherent  heavenliness  of  the  music.  The  religious  influences  of 
the  art  in  public  worship,  he  thought,  must  depend  on  the  con- 
secrated purposes  of  the  performers.  This  was  evidently  Paul's 
view  of  the  subject ;  and  what  could  there  be  in  the  progress  of 
art  which  should  change  the  nature  of  divine  precepts  ]  This, 
he  was  aware,  was  not  the  popular  view  of  the  subject ;  but  it 
was  the  only  view  which  could  be  sustained  by  the  Bible.  But 
the  new  pastor  pressed  these  points  wisely.  His  manner  of  in- 
struction was  gentle  and  affectionate ;  and  he  waited  with  much 
patience  for  the  gradual  success  of  truth,  against  the  influence 
of  habits  and  notions  which  had  been  of  such  long  standing. 
His  labors  were  not  in  vain.  For  a  time  the  singers  were  dis- 
heartened. The  "  new  views"  might  be  according  to  the  scrip- 
tures, but  they  were  "  very  discouraging."  They  would  "  destroy 
all  ambition."  The  choir  began  to  grow  remiss  in  their  exer- 
tions ;  but  conviction  had  begun  its  work.  It  was  gaining  its 
hold  upon  the  conscience.  A  gentle  revival  of  religion  ensued. 
One  after  another  of  the  singers,  ashamed  of  former  heartless- 


142  A  CHOIR  CONVERTED. 

ness  in  the  service,  confessed  the  delinquency,  and  consecrated 
themselves  anew  with  heart  and  voice,  to  the  solemn  work  of 
praising  God  in  the  sanctuary.  These  instances  increased  in 
number  till  a  new  influence  was  felt  by  the  choir  and  congrega- 
tion ;  and  as  the  singing  again  revived,  it  became  as  remarkable 
for  spirituality  as  it  formerly  had  been  for  artistic  excellence. 
The  latter  were  not  now  discarded,  but  they  were  rendered 
happily  subsiduary  to  the  higher  claims  of  spiritual  worship. 

The  success  of  such  affectionate,  patient,  faithful  dealing,  might 
naturally  have  been  expected.  Many  examples  of  the  sort  have 
occurred  in  years  that  are  passed ;  and  many  more,  we  trust, 
will  be  witnessed  in  time  to  come..  Adult  singing  schools  and 
choir  rehearsals  are  promising  fields  for  Christian  effort.  What 
a  pity  they  are  so  often  neglected. 


XXIV. 

A  LEADER  GETTING  BEHIND  THE  AGE. 

"  Of  these  things  put  them  in  remembrance."— 2  Timothy,  2: 14. 

Forty  years  ago,  in  one  of  the  inland  cities  of  the  East,  re- 
markable chiefly  for  the  virtue  and  the  enterprise  of  its  inhab- 
itants, a  congregational  church  was  instituted,  a  pastor  was 
called,  and  a  noble  edifice  erected  for  public  worship.  An  effi- 
cient choir  were  needed  to  complete  the  arrangements.  A  few 
individuals  were  ready  to  volunteer  their  services  for  this  pur- 
pose, if  they  could  be  sufficiently  sustained  as  to  numbers  and 
influence.  But  here  was  a  difficulty.  Many  who  could  sing 
well,  inclined  to  shrink  from  such  conspicuity.  Ideas  of  wor- 
ship had  become  associated  with  notions  of  personal  display. 
What  would  their  associates  think  of  them,  if  they  were  to 
"  show  off"  before  such  a  mixed  assembly !  At  a  splendid 
evening  party,  they  felt  no  such  scruples.  They  could  even 
covet  the  privilege  of  singing  at  such  a  time.  This  was  in  ac- 
cordance with  the  customs  of  good  society  ;  but  to  stand  up 
with  every  sort  of  people  to  sing  psalms  at  church,  was  a  very 
different  thing.  It  was  not  by  every  one  considered  respecta- 
ble. At  best,  it  was  not  an  enviable  position ;  and  there  could 
be  no  harm  in  refusing  the  invitation.  At  first,  they  were 
chiefly  young  ladies  who  declined  the  service.  Not  quite  satis- 
fied with  their  real  motives  for  declining,  they  invented  frivo- 


144  A  LEADER  GETTING 

lous  excuses,  which  might  serve  to  shield  them  against  impor- 
tunity. 

There  was  one  gentleman,  however,  who  strongly  seconded 
the  views  of  the  ladies,  and  he  began  to  influence  others  of  his 
own  sex.  Somewhere,  in  his  occasional  peregrinations,  he  had 
seen  a  large  humorous  picture  of  a  country  choir,  executed  to 
the  life  by  some  distinguished  artist.  There  stood  the  awkward 
personages  with  open  mouths,  uplifted  hand,  and  staring  eyes, 
grinning  at  each  other,  or  stealing  glances  at  the  congregation, 
as  if  desirous  of  applause  !  The  scene  was  altogether  so  ridic- 
ulous, that  he  at  once  decided  that  no  gentleman  ought  to  be- 
long to  a  choir  of  singers.  He,  too,  kept  his  secret,  till  it  was 
dragged  from  him  by  force  of  argument.  But  his  mind  was 
fixed.  Other  gentlemen  might  do  as  they  pleased,  but  he  meant 
to  maintain  his  ground,  and  do  all  he  could  to  sustain  the  decis- 
ion of  the  young  ladies. 

The  pastor  understood  the  position  of  things,  but  had  not  yet 
committed  himself.  He  was  a  man  of  quick  discernment ;  but 
though  he  discovered  what  might  be  passing  in  the  minds  of 
some  of  his  people,  he  kept  his  secret  and  prepared  for  efficient 
action.  With  much  careful  inquiry,  he  at  length  obtained  a 
teacher  after  his  own  heart ;  a  man  in  whom  he  could  fully  con- 
fide. On  the  eve  of  establishing  the  school,  it  was  fitting  that 
he  should  address  his  people  on  the  subject  of  praise.  He 
knew  they  had  a  tender  conscience,  and  he  prepared  himself 
accordingly.  He  gave  them  no  artistic  harangue.  He  indulg- 
ed in  no  imaginative  speculations,  or  philosophical  inquiries. 
He  spread  before  them  their  solemn  obligation  to  sustain  the 
praises  of  the  sanctuary  in  the  best  possible  manner.  The 
question  before  his  people  was  not  one  which  might  be  easily 
set  aside.  It  was  not  to  be  decided  by  the  mere  notions  of  men 
or  the  customs  of  society  ;  but  by  the  irrevocable  decisions  of 


BEHIND  THE   AGE.  145 

inspiration.  The  possession  of  talent  implied  obligation.  Those 
were  bound  to  be  the  most  forward  in  the  work  who  possessed 
the  best  qualifications.  It  would  not  answer  to  trifle  with  such 
a  subject.  There  was  no  escape  from  responsibility.  Each  in- 
dividual must  settle  the  question  for  himself  in  the  fear  of  God. 
Praise  was  a  good  work.  It  was  the  joy  of  angels  and  glori 
fied  spirits  in  heaven.  If  any  one  imagined  that  this  work  was 
not  sufficiently  dignified  and  respectable,  let  him  use  his  en- 
deavors to  make  it  so.  He  was  the  very  man  who  should 
never  be  excused.  God  has  said,  "  Whoso  offereth  praise,  glori- 
fieth  me :"  and  is  there  no  sin  in  withholding  from  him  the 
glory  which  is  due  to  his  holy  name  % 

Such  a  solemn  appeal  had  not  been  anticipated.  The  subject 
was  presented  in  a  new  and  interesting  aspect.  Conscience  was 
enlightened  and  quickened.  There  was  shame  and  blushing  on 
that  day  ;  for  many  who  had  been  the  most  backward  in  the 
enterprise  were  professors  of  religion,  whose  example  had  been 
injurious.  A  second  appeal  was  unnecessary.  The  school 
prospered.  A  large  choir  was  soon  formed,  embracing  the 
very  same  individuals  who  had  so  determined  to  excuse  them- 
selves. The  young  gentleman  forgot  the  ludicrous  picture,  and 
the  young  ladies  lost  all  fear  of  conspicuity.  For  a  year  or 
two,  the  teacher  continued  his  services  as  leader  of  the  choir. 
His  ardent  piety,  his  amiable  manners,  and  his  intelligence  and 
skill,  greatly  endeared  him  to  the  choir  and  congregation. 

But  now  that  the  object  had  been  so  happily  accomplished, 
considerations  of  economy  led  to  a  relinquishment  of  the  ser- 
vices of  the  teacher.  The  teacher  had  foreseen  this  movement ; 
and  had  trained  one  of  the  members  of  the  choir,  as  far  as  was 
practicable,  to  supply  his  place.  This  measure  created  some 
dissatisfaction.  The  singing  was  beginning  very  gradually  to 
decline,  and  there  were  some  appearances  of  the  revival  of  for- 

7 


146  A   LEADER  GETTING 

mer  notions.  Again  the  pastor  addressed  his  people  on  the 
subject,  yet  not  with  his  former  success  ;  for,  now  the  novelty 
of  his  argument  had  expended  itself,  while  sophisms  and  false 
refuges  enabled  many  to  escape  from  its  influence.  This  would 
never  answer.  The  beloved  teacher  must  be  recalled,  and  put 
upon  a  salary  which  should  make  it  his  interest  to  become  a 
citizen,  and  attach  himself  permanently  to  the  choir  and  con- 
gregation. The  measure  was  carried  into  effect ;  and  the  ar- 
rangement was  highly  satisfactory.  The  singing  again  revived, 
and  continued  to  prosper.  Mr.  V was  not  less  remark- 
able for  consistent  piety  than  for  musical  acquirements.  His  in- 
fluence was  not  feeble  or  temporary.  -He  maintained  his  posi- 
tion for  more  than  twenty  years  before  any  serious  difficulty 
occurred. 

The  population  of  a  city  is  fluctuating ;  and  there  is  often  an 
unreasonable  fondness  for  changes  in  management.  The  first 
appearance  of  dissatisfaction  was  in  reference  to  the  selection 
of  tunes.  A  class  of  young  people  had  come  into  the  choir,  who 
were  anxious  for  new  music — the  newest  of  the  new.  The 
leader  would  confine  himself  to  the  same  good  old  melodies, 
till  many  of  his  singers  became  wearied  and  disgusted.  To 
him,  these  melodies  were  very  precious.  For  a  series  of  years 
they  had  been  strongly  associated  with  devotional  thoughts  and 
feelings,  and  scenes  of  thrilling  interest.  They  were  like  old, 
affectionate  acquaintances.  They  were  also  good  tunes,  and 
tunes  of  high  celebrity.     How  could  he  cast  them  aside ! 

But  the  new  generation  of  singers  thought  differently.  They 
had  no  such  cherished  remembrances  to  fall  back  upon.  Mental 
associations  were  yet  to  be  formed.  And  what  if  the  tunes  had 
merit?  They  now  seemed  old,  and  quaint,  and  time-worn. 
"  We  may  have  too  much,  even  of  a  good  thing."  The  leader 
should  have  considered  the  matter  more  seriouslv,  and  have 


BEHIND   THE   AGE.  147 

yielded  somewhat  to  the  feelings  of  his  younger  associates.  It 
was  due  to  them.  Taste  is  necessarily  progressive ;  and  it  is 
impossible  to  sing  well  unless  our  feelings  can  in  some  measure 
be  gratified.  The  leader  was  conscientious.  With  a  heart  full 
of  kindness  to  individuals,  he  thought  it  wrong  to  be  governed 
by  their  wishes.  He  retained  their  affection ;  but  they  felt  the 
disappointment,  and  were  somewhat  disheartened.  The  singing 
began  to  decline.  There  was  a  heaviness  and  an  appearance  of 
languor  among  the  singers,  which  attracted  general  observation. 
The  second  difficulty  was  occasioned  by  the  introduction  of  a 
large  and  splendid  organ.  The  older  members  of  the  choir, 
accustomed  for  so  many  years  to  a  light  accompaniment,  had 
learned  to  enjoy  the  commingling  of  sweet  voices  in  melody 
and  harmony,  heightened  by  dynamic  varieties  of  expression. 
All  this  was  to  be  lost.  The  voices  were  to  be  overwhelmed 
and  stifled  by  the  deafening  appeals  of  an  instrument  of  resist- 
less power,  put  into  the  hands  of  an  artist  who  was  ambitious 
of  display.  The  leader  had  foreseen  the  difficulty,  and  spoken 
of  it  wTith  becoming  solicitude.  But  the  people,  so  long  ac- 
customed to  leave  everything  to  his  management,  had  themselves 
acquired  no  definite  information ;  and  now,  since  the  music  was 
seen  to  be  declining,  they  very  naturally  inferred  that  he  must 
be  getting  behind  the  spirit  of  the  age.  Why  should  they  not 
be  influenced  by  the  example  of  other  churches  1  They  ought  to 
have  the  best  instrument  and  the  best  performer  in  the  city. 
The  leader  became  disheartened.  He  was  losing  his  influence. 
Even  now,  he  might  have  rallied,  if  he  had  better  understood 
the  position  of  things.  The  people  would  soon  become  tired 
of  such  powerful  instrumentation,  and  consent  to  some  change 
in  favor  of  vocal  effect.  This  was  not  foreseen.  The  old  sino-. 
ers  left  in  disgust ;  and  the  younger  ones  formed  the  majority, 
as  to  numbers  and  influence. 


148  A  LEADER   GETTING 

Now,  certainly,  the  selection  of  tunes  should  have  had  some 
reference  to  the  circumstances,  and  the  wishes  of  the  singers. 
The  latter  entertained  kind  feelings  toward  their  leader,  and 
would  have  been  easily  satisfied.  But,  he  was  sorely  tried. 
In  his  perplexity  he  yielded  too  little.  The  organist  would 
have  readily  sympathized  with  the  leader  in  his  taste  for  selec- 
tions ;  but  discovering  what  kind  of  people  he  had  to  deal  with, 
he  sided  at  once  with  the  singers.  The  leader  soon  perceived 
that  the  place  was  becoming  too  straight  for  him ;  and  presuming 
upon  the  kind  feelings  of  the  people,  he  thought  it  advisable  to 
tender  his  resignation.  He  did  so ;  when  to  his  mortification  it 
was  accepted.  At  first  he  imagined  that  his  days  of  usefulness 
in  that  department  were  over ;  but  when  he  witnessed  the  mis- 
rule and  the  mismanagement  that  ensued,  he  began  to  anticipate 
a  recall  to  his  former  post  of  duty.  In  this  he  was  not  disap- 
pointed. What  he  had  predicted  became  a  matter  of  history. 
The  people  were  in  trouble :  who  could  extricate  them  but  the 

excellent  Mr.  V 1     Where  was  there  a  wiser  counsellor  in 

such  matters,  or  a  more  efficient  man  %  And  where,  after  all, 
would  they  find  a  more  talented  leader  ? 

But,  unfortunately,  for  the  last  twenty  years,  and  ever  after 
the  first  struggles  were  over,  the  entire  responsibility  had  been 
thrown  upon  the  salaried  leader.  All  care  of  the  singing  had 
been  cast  upon  him.  The  pulpit  had  withheld  instruction  on 
the  subject,  till  former  teachings  had  been  nearly  forgotten ; 
and  now  the  pastor,  somewhat  in  years,  began  to  tremble  for 
his  own  popularity.  He  could  no  longer  exert  himself  as  for- 
merly. The  people  would  have  their  own  notions.  There  was 
a  great  want  of  intelligence  and  unanimity. 

The  recall  of  the  leader  had  been  so  long  delayed,  as  to  afford 
him  ample  time  for  consideration.  A  salary  was  no  object  to 
him.     The  position  would  be  an  unpleasant  one.     There  would 


BEHIND   THE   AGE.  149 

be  no  relief  from  its  embarrassments.  He  could  not  calculate 
upon  the  influence  of  either  pastor  or  people ;  for  they  had  called 
him  for  the  express  purpose  of  extricating  themselves  from 
trouble,  and  casting  £11  their  responsibilities  upon  him.  The 
whole  position  of  things  was  now  unfavorable.  Was  it  his  duty 
to  sacrifice  his  remaining  influence,  and  subject  himself  to  so 
much  discomfort,  where  there  was  every  probability  that  he 
would  fail  in  his  efforts  ?  He  wisely  declined  the  appointment, 
and  retained  his  seat  in  the  congregation.  It  was  well  that  he 
was  a  patient  and  peaceable  man.  Such  repeated  changes  of 
management  ensued,  as  might  otherwise  have  rendered  him 
restless  and  troublesome.  Nothing  could  satisfy  the  people. 
There  were  no  contentions.  There  was,  perhaps,  no  evil-speak- 
ing :  but  there  was  just  that  restlessness  under  the  performances 
which  chilled  the  fervors  of  devotion.  After  several  long  years 
of  endurance,  an  organist  "  came  into  power"'  who  understood 
vocal  effect,  and  who  was  himself  a  sincere  and  humble  wor- 
shipper. 

Once  more,  there  was  order  and  decency,  appropriate  skill, 
and  pious  susceptibility  in  the  music  of  that  church  ;  and  the 
choir,  with  a  leader  of  modern  taste,  and  an  organist  whom 
they  esteemed,  could  all  rejoice  together  in  the  exercises  of 
praise. 

An  important  lesson  had  been  given  to  the  people.  Had 
their  former  leader  been  decidedly  a  man  of  progress,  and 
had  he  been  sustained  by  the  unremitted  co-operation  of 
pastor  and  people,  there  would  have  been  no  re-action,  and 
probably  no  material  decline  of  interest.  But  the  strong  pro- 
pensity to  neglect  this  subject  and  shake  off  responsibility, 
must  always  sooner  or  later  occasion  disaster.  Why  should  it 
be  otherwise  ?  Will  any  of  the  interests  of  religion  be  found 
to  thrive  under  such  neglect  ?     The  idea  is  preposterous. 


XXV. 

A  PEEP   BEHIND  THE  CURTAIN. 

"  And  all  the  men  and  women  merely  players." — Pops. 

Some  thirty  years  ago,  choirs  that  were  regardless  of  religious 
responsibility,  were  often  left  to  their  own  direction  as  entirely 
as  if  they  had  belonged  to  separate  independent  communities. 
They  seemed  to  be  regarded  as  evils  which  must  be  patiently 
tolerated,  or  as  lawless  assemblages  incapable  of  religious  cul- 
ture. No  wonder  that  they  should  often  be  in  trouble,  and 
bring  disgrace  upon  the  congregation  that  were  connected  with 
them.  Sometimes,  however,  the  tempter,  when  they  were 
wicked  enough  to  suit  him,  would  seem  to  let  them  alone. 

The  choir  in  the  E church,  of  one  of  our  oldest  cities, 

may  serve  as  an  illustration.  It  consisted  of  a  few  obscure  per- 
sons, who  had  more  vocal  power  than  taste  or  sense  of  deco- 
rum. The  ample  curtains  which  hid  them  from  the  gaze  of  the 
assembly  kept  many  unsightly  scenes  from  view.  The  choir 
attended  to  their  music,  but  cared  little  for  the  rest  of  the  exer- 
cises. They  were  fond  of  nuts,  and  candies,  and  raisins,  and  of 
lemonade.  They  would  be  busy  with  their  pencils  in  "  sermon 
time" — not  in  taking  notes,  but  in  making  sketches  of  things 
around  them.  Or  they  would  be  marking  the  blank-leaves  of 
their  books  with  senseless  rhymes  or  rude  caricature  likenesses ; 
or  would  be  carrying  on  a  humorous  correspondence.     Whis- 


A   PEEP    BEHIND    THE    OLIU'AIN.  151 

pering,  winking,  and  sly  tricks  of  comicality  were  common ; 
and  when  invention  was  exhausted,  they  would  soothe  them- 
selves with  refreshing  slumbers,  like  many  of  the  nodding  ones 
below. 

Their  chorister,  the  vociferating  clerk  who  led  the  responses 
of  the  people,  was  a  clever  man  in  the  Yankee  sense  of  that 
word  ;  ignorant,  ill-bred,  and  destitute  of  all  dignity.  He  had 
not  sufficient  influence  to  keep  order  in  the  choir,  or  sufficient 
self-command  always  to  steer  clear  of  personal  entanglements. 
He  thought  it  a  great  pity  for  singers  to  break  the  Sabbath,  and 
would  sometimes  gently  remonstrate.  But  it  was  plain  that  he 
was  not  inaccessible  to  temptation  ;  and  the  choir  would  con- 
trive to  keep  him  sufficiently  implicated  to  prevent  him  from 
exposing  their  mischief. 

On  one  occasion  they  went  a  step  further,  and  induced  him 
in  an  hour  of  weakness  to  become  the  principal  actor.  At  the 
close  of  a  State  election,  in  which  he  had  taken  a  deep  interest, 
every  mail  was  big  with  important  intelligence.  During  the 
services,  a  messenger  was  sent  to  the  post-office  for  news  of  the 
returns.  He  came  back  in  the  time  of  prayer,  when  the 
clerk-chorister,  with  book  in  hand,  mingled  his  loud  devotions 
with  his  whispering  interrogatives.     "  Amen !     What  is  the 

news  from  A county  1    What  is  it  from  B 1     Amen  ! 

How  large  did  you  say  was  the  majority.     Amen!      What 

is    the  news    from    C ?      What  is   it   from    D  ?      How 

many?     Good!     We  shall  beat  them  yet.     Amen!     What  is 

the  majority  in  the  county  of  E ,  and  of  F ?     Well, 

I  expected  that.  Amen  !  Are  the  other  counties  heard  from  V 
His  inquiries  were  promptly  answered,  and  the  dialogue  was 
kept  up  for  his  special  benefit,  till  the  utterance  of  the  final 
"  Amen  /"  when  the  scene  was  changed  from  prayer  to  praise 
with  about  the  same  evidence  of  personal  devotion. 


152        A  PEEP  BEHIND  THE  CURTAIN. 

A  man  of  better  principles  had  taken  his  seat  with  the  choir 
that  day  for  the  first  time.  In  their  zeal  to  lead  the  chorister 
astray,  they  had  not  thought  of  him.  He  was  shocked  at  the 
ungodliness  of  the  scene,  and  lost  no  time  in  giving  information 
to  the  constituted  overseer  of  the  church.  What  was  to  be 
done  %  Must  the  singers  be  disbanded  ]  No.  Others  could 
not  be  found  to  supply  their  places.  "  Singers,  like  organ- 
pipes,  will  sometimes  be  out  of  tune  ;  they  are  not  regarded  as 
worshippers."  Must  the  clerk-chorister  be  displaced  ?  Not  at 
all.  He  has  many  influential  friends.  He  must  be  privately 
reprimanded,  and  on  a  promise  of  amendment  be  allowed  to 
keep  his  place.  He  gave  the  pledge  of  good  behavior  which 
was  required  of  him ;  but  he  was  still  surrounded  with  the 
tempters,  who  had  bound  themselves  by  no  such  engagement, 
and  who  would  doubtless  continue  to  lead  him  astray. 

When  we  look  back  upon  such  scenes  of  unprincipled  mis- 
behavior, we  wonder  that  they  could  ever  have  been  tolerated 
for  an  hour.  If  there  had  been  any  real  necessity  in  the  case, 
there  might  have  been  some  shadow  of  an  apology  ;  and  then 
the  utility  of  choirs  might  well  have  been  questioned.  But  how 
did  unprincipled  singers  gain  the  ascendency  1  Was  it  not  pos- 
sible for  Christians  to  learn  to  sing  ?  Or  was  there  really  no 
obligations  resting  upon  them  to  become  active  in  the  praises 
of  God  ? 


XXVI. 

OLD  FOLKS   vs.  YOUXG- 

"Did  read  by  rote  and  could  not  spell." — Shakspkark. 

There  is  an  extensive  farming  district  in  one  of  the  oldest 
states  of  the  Union,  which  was  once  overrun — not  with  white 
daisies,  or  Canada  thistles,  but  with  "  Yankee  patent-notes/' 
They  operated  as  a  paralysis  to  musical  enterprise,  and  formed 
an  insurmountable  obstacle  to  the  progress  of  taste. 

Good  music  is  not  to  be  obtained  without  intelligent  instruc- 
tion and  practice.  But  here  was  a  plan  of  learning  to  sing 
without  study  or  labor ;  of  acquiring  skill  without  tasking  in- 
genuity. This  plan,  like  some  analogous  ones  still  advocated 
by  superficial  thinkers,  virtually  proposed  to  help  the  pupil  on- 
ward by  relieving  him  from  the  very  kind  of  effort  which  was 
indispensable  to  sound  and  thorough  progress.  Such  plans  are 
sure  to  deceive  expectation.  They  may  seem  inviting  at  first, 
but  they  give  temporary  facility  at  the  expense  of  ultimate  per- 
plexity and  discouragement.  A  painter  cannot  be  produced  by 
machinery,  nor  a  poet  by  a  rhyming  dictionary.  And  a  mu- 
sical student  who  would  prosper  in  his  studies,  must  avoid  all 
analogous  contrivances  in  notation.  It  is  enough  for  him  that 
the  "  round-note  system"1  has  become  the  written  musical  lan- 
guage throughout  the  civilized  world ;  that  this  language  has 
been  adopted  after  countless  experiments  of  every  name  and 

7* 


154  OLD  FOLKS   VS.   YOUNG. 

nature ;  and  that  in  it  are  recorded  the  whole  amount  of  mu- 
sical materials  of  every  age  and  country. 

One  of  the  most  permanent  evils  arising  from  such  contriv- 
ances is,  that  they  hinder  the  people  from  acquiring  any  sat- 
isfactory amount  of  practical  knowledge,  and  encourage  low 
and  limited  views  of  the  art.     How  far  the  choir  in  the  village 

church  of  P ,  were  influenced  by  the  use  of  "  patent  notes," 

it  is  impossible  now  to  ascertain ;  yet,  before  they  adopted  the 
"  round  notes,"  they  had  learned  to  undervalue  musical  attain- 
ments, to  be  inattentive  to  instruction,  and  negligent  of  effort. 
They  were  not  partial  to  innovations.  It  was  enough  for  them 
that  they  could  read  "  the  old  way."  For  many  years  they 
would  not  pay  sufficient  attention  to  exercises  in  round  notes,  to 
enable  them  to  read  the  plainest  tunes,  a  thing  that  might  easily 
have  been  accomplished  in  some  eight  or  ten  evenings  of  well- 
directed  practice.  With  books  in  hand,  they  trusted  chiefly  to 
memory  ;  and  as  persons  immersed  in  business,  and  advanced 
in  years,  were  among  their  numbers,  there  MTould  often  occur 
some  painful  deficiencies  of  recollection.  Portions  of  different 
tunes,  through  forgetfulness,  would  be  strangely  intermingled. 
A  stanza  would  sometimes  commence  with  one  tune  and  end 
with  another.  And  every  now  and  then,  a  tune  which  "  started 
well,"  would  "  bring  up  at  the  middle,"  or  be  converted  to  a 
trio  or  solo  before  the  close.  Whenever  such  occurrences  be- 
came too  frequent  for  endurance,  a  school  would  be  opened  just 
long  enough  to  "jog  the  memory,"  as  to  old  tunes,  and  supply 
it  with  some  twelve  or  fifteen  new  ones.  There  was  no  increase 
of  skill,  or  progress  in  refinement. 

At  one  time  a  small  list  of  tunes  was  given  into  the  hands  of 
the  teacher,  which,  when  committed  to  memory  by  the  choir, 
would  be  a  signal  for  his  dismission.  At  another  time  the 
teacher  was  employed  for  the  purpose  of  initiating  one  of  the 


OLD   FOLKS    VS.  YOUNG.  155 

singers  into  the  office  of  chorister,  who  needed  special  training. 
As  soon  as  the  latter  could  u  beat  the  time,  and  give  the  pitch 
with  accuracy,*'  and  learn  to  be  governed  by  the  general  move- 
ment of  those  around  him,  the  task  was  accomplished,  and  there 
was  an  end  to  instruction  till  another  exigency  should  occur. 

This  was  a  fair  specimen  of  the  management  which  prevailed 
in  the  surrounding  villages.  Schools  were  unfrequent,  and  of 
short  duration,  and  weekly  rehearsals  for  mutual  improvement 
were  then  unknown.  The  people  wondered  why  the  singing, 
after  every  period  of  instruction,  should  so  rapidly  decline. 
The  benefit  of  instruction,  they  said,  seemed  so  small,  as  scarce- 
ly to  compensate  for  the  effort  and  expense  attending  it.  Teach- 
ers, therefore,  would  be  poorly  paid,  and  they  had  little  induce- 
ment to  become  better  qualified  for  their  employment.  There 
were  also  some  social  evils  connected  with  singing  schools, 
which  were  imagined  to  be  necessary  concomitants.  So  entire- 
ly blind  were  the  churches  of  that  district  to  the  course  of  in- 
struction which  the  circumstances  demanded. 

The  younger  members  of  the  choir  in  P ,  were  at  length 

becoming  dissatisfied.  They  were  in  favor  of  progress.  The 
teaching  was  too  limited,  and  too  superficial.  They  desired 
something  better.  But  they  were  yet  in  the  minority  as  to 
numbers  and  influence.  The  older  men  were  efficient  singers, 
and  some  of  them  were  pillars  in  the  church  and  congregation. 
They  were  quite  intelligent  on  other  subjects,  and  generally 
speaking,  were  not  behind  the  age  in  enterprise.  But  in  music, 
they  insisted  on  the  maintenance  of  the  same  narrow-minded 
policy  which  had  so  long  been  pursued.  The  truth  was,  they 
were  so  busy  in  other  matters,  and  so  far  advanced  in  life,  as  to 
be  unwilling  to  commence  any  thorough  system  of  musical 
practice,  and  thinking  very  properly  that  the  young  people 
ought  not  to  be  wholly  left  to  themselves,  they  saw  no  other 


156  OLD   FOLKS  VS.  YOUNG. 

alternative  than  the  one  which  was  occasioning  dissatisfaction. 
Their  numbers,  however,  were  diminishing,  and  the  time  was 
not  far  distant  when  they  would  be  in  the  minority.  Musical 
improvement  cannot,  in  the  nature  of  things,  be  impeded  with- 
out serious  injury  to  the  interests  of  psalmody.  The  dissatis- 
faction increased.  At  length  the  struggle  came  on.  Neither 
party  would  yield  its  position.  Two  rival  schools  were  simul- 
taneously established,  the  one  on  the  usual  plan,  under  charge 
of  a  pious,  though  inefficient  teacher  ;  the  other,  on  an  improved 
plan,  under  a  teacher,  who,  though  not  a  professor  of  religion, 
was  a  skilful  man,  and  a  man  of  sound  principles  and  unexcep- 
tionable morals.  The  former  party  accused  the  latter  of  un- 
worthy motives,  which,  of  course,  they  wholly  disclaimed.  A 
talented,  pious  teacher,  could  scarcety  then  be  found ;  for  the 
churches  in  that  district  had  long  been  treating  the  subject  with 
indifference.  The  young  people  had  made  the  best  selection  in 
their  power.  Both  schools,  however,  could  not  be  sustained. 
So  an  aged  counsellor  was  called  from  a  neighboring  village,  to 
bring  about  an  accommodation.  He  sought  in  a  private  way 
to  reconcile  the  parties,  by  admitting  to  each,  that  to  some  ex- 
tent the  other  might  have  been  wrong,  which  was  really  the 
truth.  But  no.  Both  were  inflexible.  There  was  no  intention 
of  yielding,  and  the  venerable  friend  came  to  the  parish  meet- 
ing which  had  been  appointed,  without  the  least  hope  of  effect- 
ing an  accommodation.  There  was  a  full  attendance  at  the 
meeting.  One  thing  after  another  was  proposed  by  individuals, 
but  to  no  purpose.  Both  the  teachers  sent  in  their  resignations, 
but  they  were  not  accepted.  The  parties  grew  clamorous. 
The  one,  presuming  upon  their  superior  influence  in  the  society, 
forgot  the  kindness  and  forbearance  which  were  due  to  youth  ; 
the  other  were  equally  forgetful  of  that  deference  which  was 
due  to  age.     The  irritation  increased,  and  drew  forth  on  either 


OLD   FOLKS    VS.  YOUNG.  157 

hand  opprobrious  epithets,  which  added  fuel  to  the  flame.  The 
meeting  became  disorderly  and  clamorous.  The  venerable 
visitor,  who  till  then  had  sat  in  silence,  arose  to  address  the 
meeting.  In  a  moment  all  was  silence,  and  breathless  expecta- 
tion. 

"  My  friends,"  said  he,  "  I  am  exceedingly  distressed  for  you. 
I  can  do  you  no  good."  And  they  saw  his  chin  quiver  with 
emotion,  while  his  eye  beamed  with  unwonted  tenderness.  "  I 
had  thought  the  spirit  of  praise  immeasurably  more  essential 
than  the  manner  ;  but  to-night  all  our  discussions  turn  upon  ex- 
ternals, while  by  our  impatience  and  strife,  the  blessed  Spirit 
has  been  grieved  away  from  us.  We  have  sought  out  our  own 
devices,  and  are  in  trouble.  No  doubt  the  manner  of  praise 
has  great  importance;  but  when  we  consider  that  our  God 
looketh  upon  the  heart,  and  that  he  must  regard  as  mockery 
every  sacrifice  of  praise  in  which  the  heart  is  wanting,  the 
thought  is  overwhelming !  What  can  I  say  !"  His  voice  fal- 
tered with  emotion,  for  he  had  a  gentle  spirit ;  yet  he  endeavored 
to  be  faithful.  "  What  a  scene  has  been  presented  here  to- 
night !  Who  could  have  believed  it  1  We  have  been  wrang- 
ling and  quarrelling  about  the  praises  of  God ! !  Every  one 
would  have  been  shocked  at  the  bare  idea  of  such  proceedings 
in  reference  to  social  prayer.  But  praise  is  a  heavenly  employ- 
ment. It  is  the  joy  of  angels  and  glorified  spirits  in  the  presence 
of  God.  Is  praise  to  be  regarded  as  an  employment,  less  hal- 
lowed, less  solemn,  less  momentous,  than  that  of  prayer,  which 
will  forever  cease  as  we  enter  the  presence-chamber  above ! 
My  friends  and  brethren,  I  am  distressed  for  you.  What  can 
I  say !  Could  we  realize  the  weight  of  responsibility  which  is 
assumed  by  every  ostensible  worshipper ;  could  we  regard  the 
solemn  office  of  praise  as  angels  regard  it,  and  as  God  our 
Saviour  regards  it,  how  different  would  be  our  feelings,  and 


153  OLD   FOLKS   VS.  YOUNG. 

motives,  and  deliberations !  But  I  must  leave  you ;  I  can  do 
you  no  good." 

He  would  have  added  more,  but  could  not.  For  more  than 
three  days  he  had  labored  among  that  people  with  Christian 
faithfulness ;  and  such  a  result  had  grieved  him  to  the  heart. 
They  loved  him.  They  witnessed  his  emotion ;  and  when  with 
trembling  steps  he  silently  withdrew,  there  was  shame  and 
blushing  in  that  house.  All  were  silent  and  thoughtful.  Not 
an  individual  could  hold  up  his  head.  Nothing  farther  was 
offered,  and  the  meeting  closed,  as  by  one  consent,  in  perfect 
silence. 

But  an  impression  had  been  made  which  was  deep  and  salu- 
tary. A  conference  was  held  by  a  committee  from  the  two 
parties,  which  led  to  an  accommodation.  How  much  there 
might  have  been  of  mutual  acknowledgment  and  regret,  did  not 
so  distinctly  appear.  But,  as  both  parties  had  been  in  fault, 
both  were  desirous  of  a  reconciliation.  The  matters  in  dispute 
were  readily  adjusted.  The  young  people  should  be  allowed  to 
have  instruction  of  a  thorough  character ;  and  the  older  members 
should  have  the  privilege  of  nominating  the  individual  who 
should  be  employed.  The  arrangement  was  satisfactory.  The 
proffered  resignation  of  the  two  teachers  was  now  accepted ; 
and  another  teacher  was  procured,  whose  services  were  gratify- 
ing to  all.  He  was  a  talented  man ;  and  understood  the  deli- 
cacy of  his  position.  The  school  greatly  prospered.  Both  par- 
ties had  a  mind  for  study.  The  "  round-note  system"  of  nota- 
tion was  soon  mastered,  so  that  all  could  read  instead  of  trust- 
ing to  treacherous  memories.  The  leading  principles  of  style 
were  so  thoroughly  inculcated,  as  not  to  be  easily  forgotten  ;  and 
the  nature  of  a  chorister's  work  was  made  familiar  to  all ;  so 
that  in  future  there  would  be  no  want  of  leaders  to  "  set  the 
psalm."    Nor  was  the  spirit  of  praise  forgotten.     Every  evening 


OLD   FOLKS   VS.  YOUNG.  159 

bore  witness  to  its  presence ;  and  a  conviction  of  its  importance 
was  cherished  and  deepened  by  occasional  exercises,  which  were 
specially  designed  for" its  promotion.  All  these  advantages,  to 
the  delight  of  the  people,  had  been  gained  in  a  few  short  months, 
without  any  material  interference  with  business  transactions ; 
and  now,  at  the  termination  of  the  school,  weekly  rehearsals 
were  established,  which  served  to  prevent  the  music  from  de- 
clining till  a  future  period  of  instruction  should  ensue. 

The  thorough  training  which  was  received,  both  as  to  the 
manner  and  spirit  of  praise,  formed  a  new  era  in  the  musical 
history  of  that  village.  Thenceforward  the  singing  of  that 
church  was  distinguished  for  accuracy,  for  taste,  for  good  adap- 
tation and  expression,  and  above  all  for  devotional  interest. 
Rehearsals  were  conducted  with  Christian  propriety,  and  the 
performances  at  church  were  no  longer  deficient  in  power  and 
solemnity.  All  difficulties  were  at  an  end.  Unanimity  of  feel- 
ing became  permanent.  All  were  now  ready  to  acknowledge 
the  advantage  of  procuring  adequate  instruction.  The  influence 
of  this  example  was  not  limited.  The  successful  teacher  soon 
had  the  pleasure  of  witnessing  the  same  cheering  results  in  many 
of  the  surrounding  villages.  How  important  is  it,  that  all 
efforts  relative  to  the  office  of  praise  should  be  thorough  and 
well  directed ! 


XXVII. 

DIFFICULTIES  IN  A  CITY   CHOIR. 

"There  prevail,  at  present,  two  kinds  of  music,  as  diverse  as  their  origin — profane 
and  religious." — Sampson. 

Why  should  there  be  so  much  difficulty  in  sustaining  church 
music  in  our  large  cities  ?  This  important  question  has  been 
more  frequently  proposed  than  satisfactorily  answered.  Many 
causes  might  be  mentioned.  The  mixed  character  of  the  popu- 
lation, embracing  so  many  conflicting  habits,  opinions,  and  pre- 
judices ;  the  instability  of  residences ;  the  same  individual  sel- 
dom remaining  long  in  the  same  locations,  or  in  connection  with 
the  same  churches ;  the  numberless  circumstances  which  pre- 
vent the  individuals  of  a  congregation  from  familiar  intercourse 
with  each  other;  the  many  counter-attractions  which  draw 
away  the  members  of  the  choir  from  evening  rehearsals  ;  the 
fickleness  of  enterprise,  and  the  impatience  and  the  impulsive- 
ness which  are  incident  to  city  life ;  and,  above  all,  the  strong 
tide  of  worldliness  which  bears  away  everything  before  it,  ex- 
tinguishing the  fervor  of  piety  and  damping  the  ardor  of  devo- 
tion. These  are  causes  sufficiently  numerous,  one  might  think, 
to  account  for  the  multitude  of  failures  ;  and  the  mere  enumer- 
ation will  suffice  to  show  that  they  are  not  easily  overcome. 

Various  measures  have  been  adopted  for  the  improvement 
of  church  music,  which  have  but  ill  succeeded. 


DIFFICULTIES   IX  A  CITY   CHOIR.  161 

Promiscuous  singing  in  connection  with  a  precentor  will  of 
necessity  retain  its  rudeness.  Efforts  have  sometimes  been  put 
forth  for  the  instruction  of  an  entire  congregation,  but  few  of 
the  people  would  ever  be  found  at  the  rehearsals,  and  the  pre- 
centor himself  would  perhaps  be  foremost  among  the  deserters. 
Voluntary  choirs,  artistically  trained,  have  proved  too  unskilful 
for  the  satisfaction  of  citizens  who  enjoy  so  many  opportunities 
of  witnessing  professional  talent.  A  hired  quartet  too  often 
become  emulous  of  musical  distinction ;  and  a  choir  partly 
hired  and  partly  voluntary  contains  within  itself  the  elements 
of  disunion. 

A  powerful  organ  overwhelms  the  voices  of  an  assembly 
without  benefiting  them.  It  "must  have  an  able  executant,  and 
the  latter  perhaps  will  be  too  fond  of  his  instrument  to  ob- 
serve due  moderation.  A  small  instrument  neither  gives  satis- 
faction in  itself,  nor  keeps  the  voices  in  tune.  In  connection 
with  an  undisciplined  choir,  it  is  sure  to  make  difficulty.  An 
organist  who  understands  vocal  music  has  occasionally  succeed- 
ed without  a  leader  in  sustaining  an  efficient  choir  for  a  consid- 
erable period  of  time.  Yet,  he  labors  under  two  special  disad- 
vantages. His  best  singers  will  either  virtually  become  lead- 
ers, and  retard  the  progress  of  improvement,  or,  acquiring  at 
length  some  celebrity  for  skill  in  execution,  they  will  be  "  bought 
off"  to  supply  deficiencies  in  other  choirs. 

These  various  measures  are  also  found  to  conflict  with  that 
general  ignorance  of  such  matters  which  prevails  among  the  in- 
fluential classes  in  society.  So  limited  is  the  information  on 
this  entire  subject,  that  the  same  disastrous  experiments  will  be 
tried  among  the  different  churches  a  thousand  times  over,  with- 
out producing  a  general  increase  of  practical  wisdom. 

Let  us  go  back  in  our  illustrations  some  thirty  years,  to  a 
large  church  standing  at  a  corner  in  N street.    The  people 


162  DIFFICULTIES   IN   A  CITY   CHOIR. 

were  of  New  England  descent,  accustomed  to  sing  in  connection 
with  a  choir.  But  the  one  which  then  occupied  the  gallery  was 
so  feeble,  so  inefficient,  and  so  ill-ordered,  as  scarcely  to  deserve 
the  name.  Instead  of  leading  in  the  exercise,  they  were  over- 
powered by  voices  below,  that  would  drag  at  a  fearful  distance 
behind  time.  The  sounds  that  were  started  in  the  gallery  would 
come  back,  not  as  gentle  reverberations,  but  as  clamorous  ac- 
cumulating echoes,  overwhelming  the  tide  of  song.  All  par- 
ties were  dissatisfied,  and  a  school  was  opened  for  improve- 
ment. A  Professor  appeared  as  teacher ;  the  people  laughed 
at  his  ignorance  and  rusticity.  Another  teacher  succeeds  him, 
who  is  more  competent.  But  now  the  people  are  too  much  oc- 
cupied or  too  indolent  to  become*  pupils.  The  school  is  a  fail- 
ure. The  choir  have  gained  in  the  person  of  the  teacher  an  ad- 
ditional voice  of  some  power,  but  nothing  more. 

But  now,  for  a  change,  an  organ  is  introduced  into  the  gal- 
lery ;  it  is  a  small  one,  insufficient  to  keep  the  voices  in  tune 
or  in  time.  Still,  it  occupies  so  considerable  a  portion  of  the 
room  above,  as  to  exclude  one  half  of  the  singers  from  their 
seats.  Worse  and  worse  !  But  "  what  is  the  use  of  voluntary 
choirs  ?  Let  us  have  a  real  artist."  'Tis  done.  Madame 
Blank  takes  her  station  and  sings  so  beautifully  that  the  people 
sit  as  listeners  in  silent  admiration  of  the  artist.  But  the  nov- 
elty wears  off,  and  they  discover  that  she  is  far  from  being  de- 
vout in  her  deportment.  This  will  never  answer.  The  curtain 
falls. 

Scene  third  presents  a  new  interior  with  an  enlarged  gallery, 
a  powerful  organ,  and  a  numerous  choir  of  fresh  volunteers. 
But  the  new  organ  is  as  much  too  powerful  as  the  old  one  was 
too  weak.  Hark,  how  it  swells  !  How  the  arches  ring  and  the 
foundations  tremble !  What  a  volume  of  tone — what  a  tre- 
mendous sub-bass  !     Children  are  holding  their  ears,  and  nerv- 


DIFFICULTIES   IN    A  CITY   CHOIK.  163 

ous  women  suffer  with  the  headache.  The  voices  of  the  choir 
are  lost  in  the  depths  of  the  harmony  ;  and  the  people  below 
can  now  "  sing  as  they  list"  without  disturbing  each  other. 
But,  as  Sabbaths  pass  on,  the  novelty  spends  itself.  Common 
sense  puts  the  question  :  Is  this  right  ?  Is  it  not  in  tact  a  mere 
display  of  loud  instrumentation  ?  So  the  Puritans  of  old  would 
have  decided,  and  so  ought  their  descendants  to  decide.  A  gen- 
eral murmuring  ensues.  The  executant  must  close  some  of  his 
stops,  or  relinquish  his  engagement.  He  prefers  the  latter  al- 
ternative. A  new  executant  plays  with  becoming  moderation. 
But  now  the  rough  accents  of  the  undisciplined  choir  have  be- 
come prominent.  "  What  doleful  singing  !  What  miserable 
voices,  ill-toned,  nasal,  and  dental  !  What  vulgarities  in  verbal 
utterance  !  What  destitution  of  taste,  of  feeling,  and  express- 
ion !"  The  people  can  neither  enjoy  the  performances  of  the 
choir,  nor  endure  their  own  vociferations.  Again  the  curtain 
falls. 

Scene  fourth  presents  a  hired  quartet,  whose  voices  are  pol- 
ished, well  balanced,  and  powerful.  The  parties  make  no  pro- 
fession of  piety.  They  are  amateur  personators  of  devotion. 
This  circumstance,  so  common  in  such  arrangements,  is  not 
regarded  by  the  people  as  very  objectionable.  The  singers  do 
not  even  bring  out  with  expression  the  characteristics  which 
appear  in  the  hymns.  This  was  not  expected  of  them.  But 
they  "  sing  well,"  lead  off  manfully,  and  bring  up,  per  force,  the 
lingering  accents  of  the  assembly.  The  music  improves.  The 
organist  accompanies  with  judgment  and  taste.  The  good  peo- 
ple at  last  are  satisfied  ;  and  the  music  committee  are  beginning 
to  bless  themselves  for  having  at  last  hit  upon  the  right  expedi- 
ent. Behold  that  quartet  with  pencils  in  hand !  Are  they 
taking  notes  of  the  sermon  ?  See  that  small  curtain  drawn  in 
front  of  the  instrument.     Is  the  organist  engaged  in  serious 


164  DIFFICULTIES   IN  A  CITY  CHOIR. 

meditation  *?  Ah,  no !  The  chief  singers  are  scribbling  non- 
sense in  the  house  of  God  ;  and  the  organist  has  slipped  through 
a  back  door  for  the  purpose  of  sharpening  his  invention  at  a 
porter  house !  The  secret  is  out,  and  the  people  are  indignant. 
Once  more  the  curtain  falls. 

Scene  fifth  presents  a  talented  chorister  with  three  hired  sing- 
ers, forming  an  occasional  quartet  in  the  midst  of  a  select 
choir  of  volunteers,  whose  voices  have  been  much  improved  by 
instruction  and  practice.  The  training  has  been  artistic,  and 
the  singers  seem  equal  to  the  task  they  have  undertaken.  They 
are  not  worshippers  ;  and  are  not  burdened  with  profound  views 
of  responsibility.  The  volunteers  "  intend  to  sustain  the  music," 
and  to  "  gain  much  credit"  by  the  achievement.  The  effort 
seems  to  prosper.  The  vocal  utterances  are  distinct  and  mu- 
sical. The  new  organist  accompanies  delightfully ;  and  the 
alternation  of  soli  and  tutti  passages  in  connection  with  the  dy- 
namic renderings  of  the  melody,  produce  a  most  charming  effect. 
"  What  excellent  music :  the  finest  in  the  city  !  What  an  ef- 
fective soprano  singer ;  what  a  fine  alto ;  what  a  noble  bass ; 
and  what  a  powerful  leader!"  The  people  show  themselves 
highly  pleased ;  but,  unfortunately,  the  volunteers  do  not  share 
in  the  commendation.  They  labor  gratuitously,  while  those 
who  receive  compensation,  gain  all  the  credit  of  the  perform- 
ances. This  is  too  much  to  be  endured.  The  volunteers  are 
disappointed  and  disheartened.  They  grow  restless  and  impa- 
tient, and  remiss  in  their  attendance  upon  rehearsals.  They 
accuse  the  leader  of  partiality,  and  the  salaried  ones  of  taking 
"  too  many  airs"  upon  themselves.  This  calls  forth  recrimina- 
tions. The  bitterness  of  jealously  increases ;  and  ere  six  months 
have  ended,  the  malcontents  begin  to  retire  from  the  service  in 
disgust.  The  people  take  sides  in  the  controversy.  Both  par- 
ties are  blamed;  and  now  that  the  volunteers  have  disappeared, 


DIFFICULTIES  IN  A  CITY  CHOIE.  165 

the  remaining  quartet  seem  less  satisfactory.  Popularity  ceases, 
and  the  scene  closes  at  the  end  of  the  year's  engagement. 

Changes  upon  changes  ensue.  Years  fly  swiftly  in  a  large 
city.  The  restless  inhabitants  are  seldom  stationary.  They  go 
from  church  to  church  with  the  same  facility  that  they  change 
their  dwelling  places.  And  now  there  is  another  pastor,  and 
virtually  another  congregation.  All  remembrance  of  the  earlier 
arrangements  has  disappeared  with  the  floating  population  who 
have  left ;  and  those  who  have  supplied  their  places,  are  un- 
wittingly repeating  the  exploded  experiments  of  earlier  times. 
A  few  years  more,  and  the  people,  through  some  out-breaking 
weakness  in  the  gallery,  are  brought  to  a  solemn  stand.  A 
public  meeting  is  called.  A  discussion  ensues.  The  people 
are  divided.  Some  propose  one  thing  and  some  another. 
Deacon  Stadtholder  arose.  He  had  been  a  member  of  that 
congregation  for  the  last  thirty-five  years.  He  recollected  all 
the  musical  changes  which  had  occurred,  and  made  his  comment 
upon  them.  Nothing  had  been  stable.  Nothing  had  succeeded 
since  the  first  abandonment  of  the  congregational  method.  He 
had  always  been  opposed  to  choirs.  They  never  had  prospered ; 
and  he  was  now  in  favor  of  returning  to  the  good  old  way. 

"  But  what  will  become  of  the  people  ?"  said  an  extensive 
pew-owner. 

"  Good  music,"  said  one  of  the  trustees,  "  does  much  towards 
filling  the  pews." 

"  The  people  will  all  be  disgusted,"  said  an  amateur. 

The  pastor  arose.  "  There  must  be  some  way  of  sustaining 
the  music  in  city  congregations,"  said  he,  "  which  will  be  at- 
tended with  results  which  are  abiding  and  satisfactory.  The 
subject  is  properly  one  of  Christian  enterprise.  Hitherto,  in 
the  arrangements,  as  detailed  to-day,  it  is  plain  that  artistic  con- 
siderations have  taken  precedence  of  devotional  ones.     This  has 


166  DIFFICULTIES  IN  A  CITY   CHOIR. 

been  wrong.  We  need  not  wonder  at  the  failures  which  have 
occurred.  Singers  should  be  worshippers.  We  have  no  author- 
ity for  a  personated  devotion  in  songs  of  praise.  Such  an  idea 
is  not  contained  in  the  scriptures.  In  all  our  arrangements 
we  should  remember  that  God  looketh  upon  the  heart.  Why- 
should  the  cultivation  of  church  music  be  made  a  matter  of  mere 
taste  or  convenience,  or  church  policy'?  We  ought  to  be  influ- 
enced by  more  weighty  considerations.  Psalmody  must  be 
made  a  branch  of  Christian  enterprise ;  and  we  must  engage  in 
it  with  holy,  self-denying,  personal  activity." 

The  pastor's  appeal  was  decisive.  He  presented  a  new  view 
of  the  subject,  and  held  it  up  in  such  a  light,  that  the  people 
awoke  for  the  first  time  to  a  strong  conviction  of  personal  ac- 
countability. A  plan  was  agreed  upon.  Influential  members 
in  the  church  were  forward  in  the  undertaking.  An  excellent 
teacher  was  provided.  Schools  and  rehearsals  were  well  at- 
tended, and  rightly  conducted ;  and  the  pastor  was  often  present 
to  take  part  in  the  exercises. 

A  noble  effort  was  now  put  forth,  which  was  ultimately  to  be 
crowned  with  success.  Progress  was  slow ;  for  while  old  habits 
and  prejudices  could  not  at  once  be  overcome ;  the  accelerating 
influence  of  artistic  motives  was  withdrawn.  Appointments, 
too,  were  often  frustrated  by  conflicting  engagements.  The 
labor,  and  discipline,  and  practice,  had  been  greater  than  was 
first  anticipated  ;  and  the  congregation  at  length  wrere  becoming 
impatient.  Many  were  predicting  another  failure ;  and  not  a 
few  who  commenced  with  ardor,  had  retired  in  discouragement. 

It  was  time  for  some  public  demonstration.  A  new  choir 
of  fifty  singers  was  organized,  who  met  the  congregation  with  a 
public  rehearsal.  The  exercises  were  of  peculiar  interest  to 
those  who  were  spiritually-minded,  though  the  performances, 
as  all  could  see,  were  yet  imperfect.     Little  was  said  against 


DIFFICULTIES   IN   A   CITY  CHOIR.  167 

the  music,  for  much  weight  of  personal  character  was  embarked 
in  the  enterprise.  There  was  some  whispering  among  ama- 
teurs, and  there  were  knowing  ones  among  artists  and  profess- 
ors, who  exchanged  significant  glances,  and  some  two  or  three 
ventured  to  toss  their  heads  in  derision.  This  was  hard  to  be 
borne.  A  few  of  the  more  timid  ones  left  the  choir,  and  went 
to  other  churches,  and  several  of  the  more  affluent  grew  weary 
of  effort,  and  left  the  rehearsals.  The  interest  was  beginning  to 
flag.  It  was  a  critical  moment.  A  little  matter  at  that  time 
might  have  defeated  the  enterprise.  But  the  excellent  pastor 
was  unremitting  in  his  exertions,  his  encouragements,  and  his 
prayers,  and  there  were  noble  Christian  spirits  in  that  choir, 
who  were  not  to  be  disheartened  or  intimidated. 

The  music,  through  the  untiring  industry  of  the  singers,  be- 
gan visibly  to  improve.  The  people  became  patient,  then  at- 
tentive, and  then  more  deeply  interested.  Even  while  the 
training  was  yet  imperfect,  they  began  to  perceive  a  wide  differ- 
ence between  real  and  representative  devotion.  The  singing 
was  no  longer  a  subject  for  carping  criticism.  The  choir  were 
solemn  personal  worshippers  ;  the  people  deeply  sympathized 
with  them,  and  united  in  the  exercises  with  holy  delight.  Oc- 
casionally they  lifted  up  their  own  accents  in  the  full  chorus  of 
the  assembly,  with  one  heart  and  one  voice. 

The  change  thus  happily  effected,  became  permanent.  The 
people  had  learned  the  right  lesson,  and  troubles  were  at  an 
end.  Thenceforward  the  choir  was  easily  sustained.  Taking  a 
new  stand-point  of  observation,  a  flood  of  light  was  shed  over 
the  history  of  past  proceedings.  The  people  concluded  that  if 
Christians  are  to  be  materially  benefited  by  the  songs  of  Zion, 
they  must  make  some  other  sacrifices  than  those  of  a  pecuniary 
nature.  They  must  be  conversant  with  the  subject,  and  pre- 
pare as  individuals  to  bear  some  part  occasionally  in  the  public 


168  DIFFICULTIES  IN  A  CITY  CHOIR. 

exercises  of  praise.  The  object  must  be  infinitely  higher  than 
that  of  mere  musical  enjoyment,  which  though  the  principal 
source  of  attraction  at  concerts,  must  here  be  subordinate. 
Spiritual  advantages  in  the  office  of  praise,  must  be  sought  like 
other  blessings,  in  the  way  of  God's  appointment. 

And  here  is  the  proper  solution  of  the  question  which  has 
called  forth  the  preceding  sketch.  It  is  difficult  to  sustain  church 
music  in  large  cities,  chiefly  because  so  few  are  willing  to  make 
individual  efforts  and  sacrifices,  in  a  truly  Christian  spirit.  Let 
the  people  adopt  the  course  which  has  latterly  been  pursued  by 
the  church  in  N street,  and  there  need  be  no  fear  as  to  re- 
sults. But  if  they  persist  in  the  toleration  of  merely  artistic 
motives  and  arrangements,  they  must  make  up  their  minds  to 
suffer  legitimate  consequences. 


XXVIII. 

A  TALENTED   BUT   IMMORAL  CHORISTER. 

"  That  thou  shouldest  set  in  order  the  things  that  are  wanting."— St.  Paul. 

In  a  charming  valley,  between  two  lofty  ranges  of  hills,  and 
on  either  side  of  a  winding  stream,  that  abounds  in  "  water- 
privileges,"  dwell  an  industrious  population,  chiefly  descendants 
of  New  England.  The  first  settlers  were  from  the  middling 
classes  in  society,  active  and  economical,  but  more  remarkable 
for  good  sense,  than  for  sound  learning  or  true  refinement. 
They  were  a  virtuous  people.  Music  was  almost  their  only 
source  of  amusement,  and  during  the  long  winter  evenings,  they 
generally  sustained  an  adult  singing  school. 

Some  thirty  years  ago,  when  M  books  were  scarce  and  dear," 
the  teacher  would  give  manuscript  lessons  for  the  singers  to 
copy  into  their  blank-books.  The  best  copyists  were  the  most 
active  in  ';  punching  off  the  music,"  and  those  who  "  punched 
the  most,"  were  sure  to  learn  the  fastest ;  for  being  proverbi- 
ally inquisitive,  they  were  "  bound  to  know"  the  name  and  the 
use  of  every  character  which  was  drawn  by  their  pens.  This 
was  a  decided  advantage,  for  when  books  became  plenty,  the 
punchers  were  able  to  read  them. 

The  violoncello  and  flute  at  that  early  period,  were  the  only 
accompanying  instruments  at  the  village  church.  The  one  was 
frequently  too  flat,  and  the  other  was  as  often  too  sharp  in  ref- 

8 


170  A   TALENTED    BUT   IMMORAL   CHORISTER, 

erence  to  the  proper  pitch,  till  there  was  a  fearful  odds  between 
them,  and  the  singers  were  vacillating  with  reckless  instability 
between  the  two  extremes.  At  length  the  flute  gave  place  to 
the  violin,  when  the  instruments,  to  the  great  comfort  of  the 
singers,  were  found  to  "  sag  together,"  so  as  to  produce  harmo- 
ny. But  this,  in  the  opinion  of  some,  had  too  much  the  appear- 
ance of  "  fiddling,"  and  when  at  length  the  violin  made  its  ap- 
pearance at  church,  the  worshippers  below  were  sadly  scandal- 
ized. The  gentleman  who  led  on  that  instrument,  however,  was 
no  vocalist,  and  there  was  not  a  chorister  to  supply  his  place. 
What  was  to  be  done  ?  After  a  free  consultation,  it  was  satis- 
factorily arranged,  that  the  "  fiddle  should  always  be  played 
wrong  end  upward."  There  was  more  philosophy  in  this  de- 
cision than  at  first  appears;  for  when  the  instrument  stood 
downward,  like  a  small  bass-viol,  it  no  longer  brought  to  mind 
associations  of  the  ball-room,  and  the  low  tavern.  Mental  as- 
sociations have  great  influence  in  music.  Even  in  these  wiser 
days,  when  one  sees  a  choir  led  by  two  upstanding  violinists, 
with  shaking  heads  and  flourishing  elbows,  he  can  almost  wish 
for  a  re-enactment  of  that  old  decision. 

The  choir  in  the  village  church  continued  to  prosper  till  the 
violinist  was  succeeded  by  a  vocal  leader,  who,  though  a  tal- 
ented man,  was  suspected  of  secret  immoralities.  Probably 
the  suspicions  were  groundless,  but  they  led  some  of  the  best 
singers  to  absent  themselves  from  rehearsals  and  performances. 
The  singers,  in  consequence,  soon  acquired  such  an  inveterate 
"habit  of  flatting,"  that  uniformly  as  often  as  once  in  two  or 
three  stanzas  of  a  psalm  or  hymn,  the  "  pitch  would  have  to  be 
sounded"  anew.  This  was  a  sad  annoyance,  especially  in  sea- 
sons of  public  worship.  Recourse  was  had  to  a  teacher.  The 
latter,  though  a  man  of  skill,  had  never  met  with  such  a  diffi- 
culty.    The  music  seemed  uncommonly  harmonious,  but  the 


A  TALENTED   BUT   IMMORAL   CHORISTER.  171 

whole  choir  would  sink  together  by  insensible  degrees,  at  the 
rate  of  a  semi-tone  for  every  stanza.  What  could  be  the 
cause  1  The  scale  of  nature,  when  absolutely  perfect,  has  a 
slight  downward  tendency,  but  nothing,  when  compared  with 
this.  The  slackening  of  viol  strings  will  sometimes  occasion  a 
gradual  depression  of  the  pitch,  but  not  so  regular  and  so  con- 
stant as  the  one  in  question.  Nor  could  the  two  causes  com- 
bined, produce  so  great  a  practical  result. 

The  teacher  was  perplexed.  He  listened  again,  and  again 
bethought  himself.  One  single  error  in  intonation  he  had  no- 
ticed. The  seventh  of  the  scale  was  uniformly  turned  too  high. 
To  correct  this  interval,  he  supposed,  might  aggravate  the  diffi- 
culty ;  for  when  all  the  intervals  were  sinking  at  such  a  rate, 
why  should  the  seventh  be  farther  depressed  ?  But,  as  every 
other  expedient  had  failed,  he  took  to  task  the  interval  in  ques- 
tion, with  about  as  much  hope  as  the  sailor  had  who  threw  his 
last  cap  at  the  thievish  monkeys,  and  regained  through  their 
mimicking  those  which  had  been  previously  stolen.  The  expe- 
dient was  successful.  Tuning  the  seventh  too  high  had  led  the 
voices  uniformly  downward.  Depressing  this  one  interval  to 
its  true  relative  pitch,  prevented  the  others  from  sinking ;  and 
thus  the  teacher's  task  was  accomplished. 

The  solution  of  this  problem  is  left  to  the  speculative  theo- 
rist. The  experiment  may  be  of  use  to  teachers  and  choristers. 
The  exercises  were  all  in  the  major  scale.  Tuning  the  third 
and  fourth  of  that  scale  a  little  too  high,  has  usually  an  upward 
tendency,  while  a  similar  elevation  of  the  seventh  interval  leads 
to  a  gradual  depression  of  the  pitch.  As  these  faults  are  more 
or  less  prevalent  among  vocalists,  they  may  be  considered  as 
the  chief  cause  of  instability  in  the  pitch. 

But  there  is  a  more  important  chapter  in  the  history  of  this 
choir.     Talent  improved.      Taste  became  refined.     As  years 


158  OLD   FOLKS   VS.  YOUNG. 

motives,  and  deliberations  !  But  I  must  leave  you ;  I  can  do 
you  no  good." 

He  would  have  added  more,  but  could  not.  For  more  than 
three  days  he  had  labored  among  that  people  with  Christian 
faithfulness ;  and  such  a  result  had  grieved  him  to  the  heart. 
They  loved  him.  They  witnessed  his  emotion;  and  when  with 
trembling  steps  he  silently  withdrew,  there  was  shame  and 
blushing  in  that  house.  All  were  silent  and  thoughtful.  Not 
an  individual  could  hold  up  his  head.  Nothing  farther  was 
offered,  and  the  meeting  closed,  as  by  one  consent,  in  perfect 
silence. 

But  an  impression  had  been  made  which  was  deep  and  salu- 
tary. A  conference  was  held  by  a  committee  from  the  two 
parties,  which  led  to  an  accommodation.  How  much  there 
might  have  been  of  mutual  acknowledgment  and  regret,  did  not 
so  distinctly  appear.  But,  as  both  parties  had  been  in  fault, 
both  were  desirous  of  a  reconciliation.  The  matters  in  dispute 
were  readily  adjusted.  The  young  people  should  be  allowed  to 
have  instruction  of  a  thorough  character ;  and  the  older  members 
should  have  the  privilege  of  nominating  the  individual  who 
should  be  employed.  The  arrangement  was  satisfactory.  The 
proffered  resignation  of  the  two  teachers  was  now  accepted ; 
and  another  teacher  was  procured,  wThose  services  were  gratify- 
ing to  all.  He  was  a  talented  man ;  and  understood  the  deli- 
cacy of  his  position.  The  school  greatly  prospered.  Both  par- 
ties had  a  mind  for  study.  The  "  round-note  system"  of  nota- 
tion was  soon  mastered,  so  that  all  could  read  instead  of  trust- 
ing to  treacherous  memories.  The  leading  principles  of  style 
were  so  thoroughly  inculcated,  as  not  to  be  easily  forgotten  ;  and 
the  nature  of  a  chorister's  work  was  made  familiar  to  all ;  so 
that  in  future  there  would  be  no  want  of  leaders  to  "  set  the 
psalm."    Nor  was  the  spirit  of  praise  forgotten.     Every  evening 


OLD   FOLKS   VS.  YOUNG.  159 

bore  witness  to  its  presence ;  and  a  conviction  of  its  importance 
was  cherished  and  deepened  by  occasional  exercises,  which  were 
specially  designed  for- its  promotion.  All  these  advantages,  to 
the  delight  of  the  people,  had  been  gained  in  a  few  short  months, 
without  any  material  interference  with  business  transactions ; 
and  now,  at  the  termination  of  the  school,  weekly  rehearsals 
were  established,  which  served  to  prevent  the  music  from  de- 
clining till  a  future  period  of  instruction  should  ensue. 

The  thorough  training  which  was  received,  both  as  to  the 
manner  and  spirit  of  praise,  formed  a  new  era  in  the  musical 
history  of  that  village.  Thenceforward  the  singing  of  that 
church  was  distinguished  for  accuracy,  for  taste,  for  good  adap- 
tation and  expression,  and  above  all  for  devotional  interest. 
Rehearsals  were  conducted  with  Christian  propriety,  and  the 
performances  at  church  were  no  longer  deficient  in  power  and 
solemnity.  All  difficulties  were  at  an  end.  Unanimity  of  feel- 
ing became  permanent.  All  were  now  ready  to  acknowledge 
the  advantage  of  procuring  adequate  instruction.  The  influence 
of  this  example  was  not  limited.  The  successful  teacher  soon 
had  the  pleasure  of  witnessing  the  same  cheering  results  in  many 
of  the  surrounding  villages.  How  important  is  it,  that  all 
efforts  relative  to  the  office  of  praise  should  be  thorough  and 
well  directed ! 


XXVII. 

DIFFICULTIES  IX  A  CITY   CHOIR. 

"There  prevail,  at  present,  two  kinds  of  music,  as  diverse  as  their  origin— profane 
and  religious." — Sampson. 

Why  should  there  be  so  much  difficulty  in  sustaining  church 
music  in  our  large  cities  1  This  important  question  has  been 
more  frequently  proposed  than  satisfactorily  answered.  Many 
causes  might  be  mentioned.  The  mixed  character  of  the  popu- 
lation, embracing  so  many  conflicting  habits,  opinions,  and  pre- 
judices ;  the  instability  of  residences ;  the  same  individual  sel- 
dom remaining  long  in  the  same  locations,  or  in  connection  with 
the  same  churches ;  the  numberless  circumstances  which  pre- 
vent the  individuals  of  a  congregation  from  familiar  intercourse 
with  each  other;  the  many  counter-attractions  which  draw 
away  the  members  of  the  choir  from  evening  rehearsals  ;  the 
fickleness  of  enterprise,  and  the  impatience  and  the  impulsive- 
ness which  are  incident  to  city  life  ;  and,  above  all,  the  strong 
tide  of  worldliness  which  bears  away  everything  before  it,  ex- 
tinguishing the  fervor  of  piety  and  damping  the  ardor  of  devo- 
tion. These  are  causes  sufficiently  numerous,  one  might  think, 
to  account  for  the  multitude  of  failures ;  and  the  mere  enumer- 
ation will  suffice  to  show  that  they  are  not  easily  overcome. 

Various  measures  have  been  adopted  for  the  improvement 
of  church  music,  which  have  but  ill  succeeded. 


DIFFICULTIES   IN  A  CITY   CHOIR.  161 

Promiscuous  singing  in  connection  with  a  precentor  will  of 
necessity  retain  its  rudeness.  Efforts  have  sometimes  been  put 
forth  for  the  instruction  of  an  entire  congregation,  but  few  of 
the  people  would  ever  be  found  at  the  rehearsals,  and  the  pre- 
centor himself  would  perhaps  be  foremost  among  the  deserters. 
Voluntary  choirs,  artistically  trained,  have  proved  too  unskilful 
for  the  satisfaction  of  citizens  who  enjoy  so  many  opportunities 
of  witnessing  professional  talent.  A  hired  quartet  too  often 
become  emulous  of  musical  distinction ;  and  a  choir  partly 
hired  and  partly  voluntary  contains  within  itself  the  elements 
of  disunion. 

A  powerful  organ  overwhelms  the  voices  of  an  assembly 
without  benefiting  them.  It  'must  have  an  able  executant,  and 
the  latter  perhaps  will  be  too  fond  of  his  instrument  to  ob- 
serve due  moderation.  A  small  instrument  neither  gives  satis- 
faction in  itself,  nor  keeps  the  voices  in  tune.  In  connection 
with  an  undisciplined  choir,  it  is  sure  to  make  difficulty.  An 
organist  who  understands  vocal  music  has  occasionally  succeed- 
ed without  a  leader  in  sustaining  an  efficient  choir  for  a  consid- 
erable period  of  time.  Yet,  he  labors  under  two  special  disad- 
vantages. His  best  singers  will  either  virtually  become  lead- 
ers, and  retard  the  progress  of  improvement,  or,  acquiring  at 
length  some  celebrity  for  skill  in  execution,  they  will  be  "  bought 
off"  to  supply  deficiencies  in  other  choirs. 

These  various  measures  are  also  found  to  conflict  with  that 
general  ignorance  of  such  matters  which  prevails  among  the  in- 
fluential classes  in  society.  So  limited  is  the  information  on 
this  entire  subject,  that  the  same  disastrous  experiments  will  be 
tried  among  the  different  churches  a  thousand  times  over,  with- 
out producing  a  general  increase  of  practical  wisdom. 

Let  us  go  back  in  our  illustrations  some  thirty  years,  to  a 
large  church  standing  at  a  corner  in  N street.    The  people 


162  DIFFICULTIES   IN   A  CITY   CHOIR. 

were  of  New  England  descent,  accustomed  to  sing  in  connection 
with  a  choir.  But  the  one  which  then  occupied  the  gallery  was 
so  feeble,  so  inefficient,  and  so  ill-ordered,  as  scarcely  to  deserve 
the  name.  Instead  of  leading  in  the  exercise,  they  were  over- 
powered by  voices  below,  that  would  drag  at  a  fearful  distance 
behind  time.  The  sounds  that  were  started  in  the  gallery  would 
come  back,  not  as  gentle  reverberations,  but  as  clamorous  ac- 
cumulating echoes,  overwhelming  the  tide  of  song.  All  par- 
ties were  dissatisfied,  and  a  school  was  opened  for  improve- 
ment. A  Professor  appeared  as  teacher ;  the  people  laughed 
at  his  ignorance  and  rusticity.  Another  teacher  succeeds  him, 
who  is  more  competent.  But  now  the  people  are  too  much  oc- 
cupied or  too  indolent  to  become*  pupils.  The  school  is  a  fail- 
ure. The  choir  have  gained  in  the  person  of  the  teacher  an  ad- 
ditional voice  of  some  power,  but  nothing  more. 

But  now,  for  a  change,  an  organ  is  introduced  into  the  gal- 
lery ;  it  is  a  small  one,  insufficient  to  keep  the  voices  in  tune 
or  in  time.  Still,  it  occupies  so  considerable  a  portion  of  the 
room  above,  as  to  exclude  one  half  of  the  singers  from  their 
seats.  Worse  and  worse  !  But  "  what  is  the  use  of  voluntary 
choirs?  Let  us  have  a  real  artist."  'Tis  done.  Madame 
Blank  takes  her  station  and  sings  so  beautifully  that  the  people 
sit  as  listeners  in  silent  admiration  of  the  artist.  But  the  nov- 
elty wears  off,  and  they  discover  that  she  is  far  from  being  de- 
vout in  her  deportment.  This  will  never  answer.  The  curtain 
falls. 

Scene  third  presents  a  new  interior  with  an  enlarged  gallery, 
a  powerful  organ,  and  a  numerous  choir  of  fresh  volunteers. 
But  the  new  organ  is  as  much  too  powerful  as  the  old  one  was 
too  weak.  Hark,  how  it  swells  !  How  the  arches  ring  and  the 
foundations  tremble!  What  a  volume  of  tone — what  a  tre- 
mendous sub-bass  !     Children  are  holding  their  ears,  and  nerv- 


DIFFICULTIES   IX    A   CITY   CHOIR.  163 

ous  -women  suffer  with  the  headache.  The  voices  of  the  choir 
are  lost  in  the  depths  of  the  harmony  ;  and  the  people  below 
can  now  t;  sing  as  they  list"  -without  disturbing  each  other. 
But,  as  Sabbaths  pass  on.  the  novelty  spends  itself.  Common 
sense  puts  the  question  :  Is  this  right  ?  Is  it  not  in  tact  a  mere 
display  of  loud  instrumentation  ?  So  the  Puritans  of  old  would 
have  decided,  and  so  ought  their  descendants  to  decide.  A  gen- 
eral murmuring  ensues.  The  executant  must  close  some  of  his 
stops,  or  relinquish  his  engagement.  He  prefers  the  latter  al- 
ternative. A  new  executant  plays  with  becoming  moderation. 
But  now  the  rough  accents  of  the  undisciplined  choir  have  be- 
come prominent.  "What  doleful  singing!  What  miserable 
voices,  ill-toned,  nasal,  and  dental  !  What  vulgarities  in  verbal 
utterance  !  What  destitution  of  taste,  of  feeling,  and  express- 
ion !"  The  people  can  neither  enjoy  the  performances  of  the 
choir,  nor  endure  their  own  vociferations.  Again  the  curtain 
falls. 

Scene  fourth  presents  a  hired  quartet,  whose  voices  are  pol- 
ished, well  balanced,  and  powerful.  The  parties  make  no  pro- 
fession of  piety.  They  are  amateur  personators  of  devotion. 
This  circumstance,  so  common  in  such  arrangements,  is  not 
regarded  by  the  people  as  very  objectionable.  The  singers  do 
not  even  bring  out  with  expression  the  characteristics  which 
appear  in  the  hymns.  This  was  not  expected  of  them.  But 
they  u  sing  well,"  lead  off  manfully,  and  bring  up,  per  force,  the 
lingering  accents  of  the  assembly.  The  music  improves.  The 
organist  accompanies  with  judgment  and  taste.  The  good  peo- 
ple at  last  are  satisfied  ;  and  the  music  committee  are  beginning 
to  bless  themselves  for  having  at  last  hit  upon  the  right  expedi- 
ent. Behold  that  quartet  with  pencils  in  hand !  Are  they 
taking  notes  of  the  sermon  ?  See  that  small  curtain  drawn  in 
front  of  the  instrument.     Is  the  organist  engaged  in  serious 


164  DIFFICULTIES   IN   A  CITY  CHOIR. 

meditation  ?  Ah,  no !  The  chief  singers  are  scribbling  non- 
sense in  the  house  of  God  ;  and  the  organist  has  slipped  through 
a  back  door  for  the  purpose  of  sharpening  his  invention  at  a 
porter  house  !  The  secret  is  out,  and  the  people  are  indignant. 
Once  more  the  curtain  falls. 

Scene  fifth  presents  a  talented  chorister  with  three  hired  sing- 
ers, forming  an  occasional  quartet  in  the  midst  of  a  select 
choir  of  volunteers,  whose  voices  have  been  much  improved  by 
instruction  and  practice.  The  training  has  been  artistic,  and 
the  singers  seem  equal  to  the  task  they  have  undertaken.  They 
are  not  worshippers  ;  and  are  not  burdened  with  profound  views 
of  responsibility.  The  volunteers  "  intend  to  sustain  the  music," 
and  to  "  gain  much  credit"  by  the  achievement.  The  effort 
seems  to  prosper.  The  vocal  utterances  are  distinct  and  mu- 
sical. The  new  organist  accompanies  delightfully ;  and  the 
alternation  of  soli  and  tutti  passages  in  connection  with  the  dy- 
namic renderings  of  the  melody,  produce  a  most  charming  effect. 
"  What  excellent  music :  the  finest  in  the  city  !  What  an  ef- 
fective soprano  singer ;  what  a  fine  alto ;  what  a  noble  bass ; 
and  what  a  powerful  leader!"  The  people  show  themselves 
highly  pleased ;  but,  unfortunately,  the  volunteers  do  not  share 
in  the  commendation.  They  labor  gratuitously,  while  those 
who  receive  compensation,  gain  all  the  credit  of  the  perform- 
ances. This  is  too  much  to  be  endured.  The  volunteers  are 
disappointed  and  disheartened.  They  grow  restless  and  impa- 
tient, and  remiss  in  their  attendance  upon  rehearsals.  They 
accuse  the  leader  of  partiality,  and  the  salaried  ones  of  taking 
"  too  many  airs"  upon  themselves.  This  calls  forth  recrimina- 
tions. The  bitterness  of  jealously  increases ;  and  ere  six  months 
have  ended,  the  malcontents  begin  to  retire  from  the  service  in 
disgust.  The  people  take  sides  in  the  controversy.  Both  par- 
ties are  blamed;  and  now  that  the  volunteers  have  disappeared, 


DIFFICULTIES   IN  A  CITY  CHOIR.  165 

the  remaining  quartet  seem  less  satisfactory.  Popularity  ceases, 
and  the  scene  closes  at  the  end  of  the  years  engagement. 

Changes  upon  changes  ensue.  Years  fly  swiftly  in  a  large 
city.  The  restless  inhabitants  are  seldom  stationary.  They  go 
from  church  to  church  with  the  same  facility  that  they  change 
their  dwelling  places.  And  now  there  is  another  pastor,  and 
virtually  another  congregation.  All  remembrance  of  the  earlier 
arrangements  has  disappeared  with  the  floating  population  who 
have  left ;  and  those  who  have  supplied  their  places,  are  un- 
wittingly repeating  the  exploded  experiments  of  earlier  times. 
A  few  years  more,  and  the  people,  through  some  out-breaking 
weakness  in  the  gallery,  are  brought  to  a  solemn  stand.  A 
public  meeting  is  called.  A  discussion  ensues.  The  people 
are  divided.  Some  propose  one  thing  and  some  another. 
Deacon  Stadtholder  arose.  He  had  been  a  member  of  that 
congregation  for  the  last  thirty-five  years.  He  recollected  all 
the  musical  changes  which  had  occurred,  and  made  his  comment 
upon  them.  Nothing  had  been  stable.  Nothing  had  succeeded 
since  the  first  abandonment  of  the  congregational  method.  He 
had  always  been  opposed  to  choirs.  They  never  had  prospered ; 
and  he  was  now  in  favor  of  returning  to  the  good  old  way. 

"  But  what  will  become  of  the  people  '?"  said  an  extensive 
pew-owner. 

'-  Good  music,''  said  one  of  the  trustees,  "  does  much  towards 
filling  the  pews." 

"  The  people  will  all  be  disgusted,"  said  an  amateur. 

The  pastor  arose.  "  There  must  be  some  way  of  sustaining 
the  music  in  city  congregations,"  said  he,  "  which  will  be  at- 
tended with  results  which  are  abiding  and  satisfactory.  The 
subject  is  properly  one  of  Christian  enterprise.  Hitherto,  in 
the  arrangements,  as  detailed  to-day,  it  is  plain  that  artistic  con- 
siderations have  taken  precedence  of  devotional  ones.     This  has 


166  DIFFICULTIES  IN  A  CITY   CHOIR. 

been  wrong.  We  need  not  wonder  at  the  failures  which  have 
occurred.  Singers  should  be  worshippers.  We  have  no  author- 
ity for  a  personated  devotion  in  songs  of  praise.  Such  an  idea 
is  not  contained  in  the  scriptures.  In  all  our  arrangements 
we  should  remember  that  God  looketh  upon  the  heart.  Why- 
should  the  cultivation  of  church  music  be  made  a  matter  of  mere 
taste  or  convenience,  or  church  policy?  We  ought  to  be  influ- 
enced by  more  weighty  considerations.  Psalmody  must  be 
made  a  branch  of  Christian  enterprise ;  and  we  must  engage  in 
it  with  holy,  self-denying,  personal  activity." 

The  pastor's  appeal  was  decisive.  He  presented  a  new  view 
of  the  subject,  and  held  it  up  in  such  a  light,  that  the  people 
awoke  for  the  first  time  to  a  strong  conviction  of  personal  ac- 
countability. A  plan  was  agreed  upon.  Influential  members 
in  the  church  were  forward  in  the  undertaking.  An  excellent 
teacher  was  provided.  Schools  and  rehearsals  were  well  at- 
tended, and  rightly  conducted ;  and  the  pastor  was  often  present 
to  take  part  in  the  exercises. 

A  noble  effort  was  now  put  forth,  which  was  ultimately  to  be 
crowned  with  success.  Progress  was  slow ;  for  while  old  habits 
and  prejudices  could  not  at  once  be  overcome ;  the  accelerating 
influence  of  artistic  motives  was  withdrawn.  Appointments, 
too,  were  often  frustrated  by  conflicting  engagements.  The 
labor,  and  discipline,  and  practice,  had  been  greater  than  was 
first  anticipated  ;  and  the  congregation  at  length  were  becoming 
impatient.  Many  were  predicting  another  failure ;  and  not  a 
few  who  commenced  with  ardor,  had  retired  in  discouragement. 

It  was  time  for  some  public  demonstration.  A  new  choir 
of  fifty  singers  was  organized,  who  met  the  congregation  with  a 
public  rehearsal.  The  exercises  were  of  peculiar  interest  to 
those  who  were  spiritually-minded,  though  the  performances, 
as  all  could  see,  were  yet  imperfect.     Little  was  said  against 


DIFFICULTIES   IN   A   CITY  CHOIR.  167 

the  music,  for  much  weight  of  personal  character  was  embarked 
in  the  enterprise.  There  was  some  whispering  among  ama- 
teurs, and  there  were  knowing  ones  among  artists  and  profess- 
ors, who  exchanged  significant  glances,  and  some  two  or  three 
ventured  to  toss  their  heads  in  derision.  This  was  hard  to  be 
borne.  A  few  of  the  more  timid  ones  left  the  choir,  and  went 
to  other  churches,  and  several  of  the  more  affluent  grew  weary 
of  effort,  and  left  the  rehearsals.  The  interest  was  beginning  to 
flag.  It  was  a  critical  moment.  A  little  matter  at  that  time 
might  have  defeated  the  enterprise.  But  the  excellent  pastor 
was  unremitting  in  his  exertions,  his  encouragements,  and  his 
prayers,  and  there  were  noble  Christian  spirits  in  that  choir, 
who  were  not  to  be  disheartened  or  intimidated. 

The  music,  through  the  untiring  industry  of  the  singers,  be- 
gan visibly  to  improve.  The  people  became  patient,  then  at- 
tentive, and  then  more  deeply  interested.  Even  while  the 
training  was  yet  imperfect,  they  began  to  perceive  a  wide  differ- 
ence between  real  and  representative  devotion.  The  singing 
was  no  longer  a  subject  for  carping  criticism.  The  choir  were 
solemn  personal  worshippers  ;  the  people  deeply  sympathized 
with  them,  and  united  in  the  exercises  with  holy  delight.  Oc- 
casionally they  lifted  up  their  own  accents  in  the  full  chorus  of 
the  assembly,  with  one  heart  and  one  voice. 

The  change  thus  happily  effected,  became  permanent.  The 
people  had  learned  the  right  lesson,  and  troubles  were  at  an 
end.  Thenceforward  the  choir  was  easily  sustained.  Taking  a 
new  stand-point  of  observation,  a  flood  of  light  was  shed  over 
the  history  of  past  proceedings.  The  people  concluded  that  if 
Christians  are  to  be  materially  benefited  by  the  songs  of  Zion, 
they  must  make  some  other  sacrifices  than  those  of  a  pecuniary 
nature.  They  must  be  conversant  with  the  subject,  and  pre- 
pare as  individuals  to  bear  some  part  occasionally  in  the  public 


168  DIFFICULTIES  IN  A  CITY   CHOIR. 

exercises  of  praise.  The  object  must  be  infinitely  higher  than 
that  of  mere  musical  enjoyment,  which  though  the  principal 
source  of  attraction  at  concerts,  must  here  be  subordinate. 
Spiritual  advantages  in  the  office  of  praise,  must  be  sought  like 
other  blessings,  in  the  way  of  God's  appointment. 

And  here  is  the  proper  solution  of  the  question  which  has 
called  forth  the  preceding  sketch.  It  is  difficult  to  sustain  church 
music  in  large  cities,  chiefly  because  so  few  are  willing  to  make 
individual  efforts  and  sacrifices,  in  a  truly  Christian  spirit.  Let 
the  people  adopt  the  course  which  has  latterly  been  pursued  by 
the  church  in  N street,  and  there  need  be  no  fear  as  to  re- 
sults. But  if  they  persist  in  the  toleration  of  merely  artistic 
motives  and  arrangements,  they  must  make  up  their  minds  to 
suffer  legitimate  consequences. 


XXVIII. 
A  TALENTED  BUT  IMMORAL  CHORISTER. 

■  That  thou  shouldest  set  in  order  the  things  that  are  wanting."— St.  Paul. 

In  a  charming  valley,  between  two  lofty  ranges  of  hills,  and 
on  either  side  of  a  winding  stream,  that  abounds  in  "  water- 
privileges,"  dwell  an  industrious  population,  chiefly  descendants 
of  New  England.  The  first  settlers  were  from  the  middling 
classes  in  society,  active  and  economical,  but  more  remarkable 
for  good  sense,  than  for  sound  learning  or  true  refinement. 
They  were  a  virtuous  people.  Music  was  almost  their  only 
source  of  amusement,  and  during  the  long  winter  evenings,  they 
generally  sustained  an  adult  singing  school. 

Some  thirty  years  ago,  when  u  books  were  scarce  and  dear," 
the  teacher  would  give  manuscript  lessons  for  the  singers  to 
copy  into  their  blank-books.  The  best  copyists  were  the  most 
active  in  ';  punching  off  the  music,"  and  those  who  "  punched 
the  most,"  were  sure  to  learn  the  fastest ;  for  being  proverbi- 
ally inquisitive,  they  were  "  bound  to  know"  the  name  and  the 
use  of  every  character  which  was  drawn  by  their  pens.  This 
was  a  decided  advantage,  for  when  books  became  plenty,  the 
punchers  were  able  to  read  them. 

The  violoncello  and  flute  at  that  early  period,  were  the  only 
accompanying  instruments  at  the  village  church.  The  one  was 
frequently  too  flat,  and  the  other  was  as  often  too  sharp  in  ref- 

8 


170  A  TALENTED    BUT   IMMORAL   CHORISTER. 

erence  to  the  proper  pitch,  till  there  was  a  fearful  odds  between 
them,  and  the  singers  were  vacillating  with  reckless  instability 
between  the  two  extremes.  At  length  the  flute  gave  place  to 
the  violin,  when  the  instruments,  to  the  great  comfort  of  the 
singers,  were  found  to  "  sag  together,"  so  as  to  produce  harmo- 
ny. But  this,  in  the  opinion  of  some,  had  too  much  the  appear- 
ance  of  "  fiddling,"  and  when  at  length  the  violin  made  its  ap- 
pearance at  church,  the  worshippers  below  were  sadly  scandal- 
ized. The  gentleman  who  led  on  that  instrument,  however,  was 
no  vocalist,  and  there  was  not  a  chorister  to  supply  his  place. 
What  was  to  be  done  ?  After  a  free  consultation,  it  was  satis- 
factorily arranged,  that  the  "  fiddle  should  always  be  played 
wrong  end  upward."  There  was  more  philosophy  in  this  de- 
cision than  at  first  appears;  for  when  the  instrument  stood 
downward,  like  a  small  bass-viol,  it  no  longer  brought  to  mind 
associations  of  the  ball-room,  and  the  low  tavern.  Mental  as- 
sociations have  great  influence  in  music.  Even  in  these  wiser 
days,  when  one  sees  a  choir  led  by  two  upstanding  violinists, 
with  shaking  heads  and  flourishing  elbows,  he  can  almost  wish 
for  a  re-enactment  of  that  old  decision. 

The  choir  in  the  village  church  continued  to  prosper  till  the 
violinist  was  succeeded  by  a  vocal  leader,  who,  though  a  tal- 
ented man,  was  suspected  of  secret  immoralities.  Probably 
the  suspicions  were  groundless,  but  they  led  some  of  the  best 
singers  to  absent  themselves  from  rehearsals  and  performances. 
The  singers,  in  consequence,  soon  acquired  such  an  inveterate 
"habit  of  flatting,"  that  uniformly  as  often  as  once  in  two  or 
three  stanzas  of  a  psalm  or  hymn,  the  "  pitch  would  have  to  be 
sounded"  anew.  This  was  a  sad  annoyance,  especially  in  sea- 
sons of  public  worship.  Recourse  was  had  to  a  teacher.  The 
latter,  though  a  man  of  skill,  had  never  met  with  such  a  diffi- 
culty.    The  music  seemed  uncommonly  harmonious,  but  the 


A  TALENTED   BUT   IMMORAL   CHORISTER.  171 

whole  choir  would  sink  together  by  insensible  degrees,  at  the 
rate  of  a  semi-tone  for  every  stanza.  What  could  be  the 
cause  ?  The  scale  of  nature,  when  absolutely  perfect,  has  a 
slight  downward  tendency,  but  nothing,  when  compared  with 
this.  The  slackening  of  viol  strings  will  sometimes  occasion  a 
gradual  depression  of  the  pitch,  but  not  so  regular  and  so  con- 
stant as  the  one  in  question.  Nor  could  the  two  causes  com- 
bined, produce  so  great  a  practical  result. 

The  teacher  was  perplexed.  He  listened  again,  and  again 
bethought  himself.  One  single  error  in  intonation  he  had  no- 
ticed. The  seventh  of  the  scale  was  uniformly  turned  too  high. 
To  correct  this  interval,  he  supposed,  might  aggravate  t'.:e  diffi- 
culty ;  for  when  all  the  intervals  were  sinking  at  such  a  rate, 
why  should  the  seventh  be  farther  depressed  ?  But,  as  every 
other  expedient  had  failed,  he  took  to  task  the  interval  in  ques- 
tion, with  about  as  much  hope  as  the  sailor  had  who  threw  his 
last  cap  at  the  thievish  monkeys,  and  regained  through  their 
mimicking  those  which  had  been  previously  stolen.  The  expe- 
dient was  successful.  Tuning  the  seventh  too  high  had  led  the 
voices  uniformly  downward.  Depressing  this  one  interval  to 
its  true  relative  pitch,  prevented  the  others  from  sinking ;  and 
thus  the  teacher's  task  was  accomplished. 

The  solution  of  this  problem  is  left  to  the  speculative  theo- 
rist. The  experiment  may  be  of  use  to  teachers  and  choristers. 
The  exercises  were  all  in  the  major  scale.  Tuning  the  third 
and  fourth  of  that  scale  a  little  too  high,  has  usually  an  upward 
tendency,  while  a  similar  elevation  of  the  seventh  interval  leads 
to  a  gradual  depression  of  the  pitch.  As  these  faults  are  more 
or  less  prevalent  among  vocalists,  they  may  be  considered  as 
the  chief  cause  of  instability  in  the  pitch. 

But  there  is  a  more  important  chapter  in  the  history  of  this 
choir.     Talent  improved.      Taste  became  refined.     As  years 


172  A  TALENTED   BUT  IMMORAL  CHORISTER. 

rolled  on,  the  people  were  increasing  in  learning  and  refinement. 
An  educated  man,  who  had  fine  talents  for  music,  volunteered 
his  services  as  chorister.  In  this  situation,  he  gained  many  ar- 
dent friends,  and  for  awhile  had  the  address  to  keep  them.  He 
sung  sweetly,  had  a  kind  and  winning  deportment,  and  led  the 
singing  with  great  acceptance.  But,  unfortunately,  the  idol  of 
the  choir  at  length  become  vicious.  The  matter  was  no  secret. 
His  conduct  was  sometimes  scandalous  in  the  extreme.  Yet, 
as  he  would  appear  to  be  sorry  after  every  new  offence,  the 
choir  pitied  him,  and  mistaking  his  hypocrisy  for  ingenuous  re- 
gret, were  unwilling  to  discard  him.  This  caused  an  unpleas- 
ant division  among  the  parishioners.  Some  were  for  displacing 
him,  and  others  were  for  retaining  his  services.  He  had  skill, 
and  he  was  amiable.  Many  good  singers  would  have  their  fail- 
ings. No  one  else  could  "  lead  the  singers  half  so  well,"  and, 
after  all,  he  was  "  naturally  a  very  clever  fellow." 

Up  to  this  period,  the  volunteer  choir  had  always  been  left  to 
their  own  direction.  They  understood  not  the  responsibilities 
of  their  position;  and  the  present  period  of  general  excitement 
was  no  time  for  the  inculcation  of  specific,  moral,  and  religious 
ideas.  The  singers  regarded  themselves  as  so  many  instruments 
of  a  voluntary  band,  which  needed  only  to  be  kept  in  order 
and  skilfully  directed.  How  could  they  spare  their  talented  lead- 
er ?    His  aid  was  indispensable.    There  was  "  no  one  like  him." 

Deeply  did  the  pastor  and  the  elders  regret  that  the  influence 
of  special  religious  teaching  had  been  so  long  withholden  from 
the  singers.  The  choir  had  been  so  long  indulged  and  neglect- 
ed, that  their  liberty  of  self-direction  had  assumed  the  import- 
ance of  a  prescriptive  right.  There  was  real  trouble  in  that 
village.  Who  could  tell  how  it  was  to  be  prevented,  or  where 
it  would  end  1  The  peace  of  society  was  seriously  invaded, 
and  things  were  fast  tending  towards  a  dismemberment. 


A  TALENTED   BUT   IMMORAL   CHORISTER.  173 

The  conflict  was  long  and  painful ;  but  a  crisis  was  at  hand. 
Another  sad  outbreak  of  the  man  of  loose  morals  drove  him 
from  the  village  in  everlasting  disgrace,  just  in  time  to  humble 
the  singers,  and  restore  tranquillity  to  the  agitated  parishioners. 
The  sad  occurrence  was  overruled  for  good.  After  such  fla- 
grant abuses  had  prepared  the  way  for  the  application  of  a  rem- 
edy, it  was  easy  to  perceive  what  instructions  were  needed. 
The  time  had  come  when  the  nature  of  praise  as  a  religious 
duty  could  be  better  appreciated  and  more  happily  realized  in 
practice.  There  was  no  rashness,  no  denunciation.  There  were 
no  overturnings  in  management.  The  church  awoke  to  duty  ; 
and  some  of  its  most  important  members  united  with  the  ex- 
isting choir,  and,  under  the  Divine  blessing,  gave  tone,  as  to 
manner  and  spirit,  to  the  rehearsals  and  performances.  Many 
a  sad  disaster  might  have  been  prevented  by  timely,  judicious 
instruction. 


XXIX. 

FUX  AT  SISGING  SCHOOLS. 

*It  is  the  nature  of  truth  sooner  or  later  to  command  recognition." 

Washington  Alston. 

The  famous  affair  of  throwing  the  tea  overboard,  which  pre- 
ceded the  revolutionary  struggle  in  this  country,  had  in  some 
respects  its  counterpart  in  musical  matters.  Foreign  music 
must  be  thrown  aside ;  and  Americans,  "  hit  or  miss,  must  make 
their  own  composures.'1''  Many  a  luckless  wight  put  his  hand  to 
the  work  with  about  as  much  skill  as  a  tolerable  blacksmith 
might  have  displayed  in  watch-making.  Such  music,  however, 
was  not  rejected.  It  was  something  new ;  something  lively ; 
something  not  derived  from  the  sovereignties  of  the  old  world. 

At  that  time  there  was  no  musical  science  in  the  country. 
A  sixpenny  gamut  of  four  diminutive  pages  contained  the  usual 
amount  of  knowledge.  Some  two  or  three  copies  of  "  Tansor's 
Musical  Grammar"  were  in  the  hands  of  individuals  who  kept 
them  as  choice  relics.  Yet  the  wonderful  book  was  so  misera- 
ble a  thing,  that  every  tyro  would  now  turn  it  into  ridicule. 
The  book  was  the  offspring  of  ignorance,  sure  to  lead  every  one 
astray  who  should  submit  to  its  guidance. 

Some  curious  publications  of  church  music  appeared.  Bill- 
ings led  the  way  with  a  volume  full  of  scriptural  parodies 
wrought  into  anthems ;  such  as,  "  And  the  enemy  said,  let  us 


FUN   AT   SINGING   SCHOOLS,  175 

draw  a  line  from  York  to  Canada,"  and  others  still  more  ridic- 
ulous.* Another  author  took  the  ground  that,  since  there  could 
be  no  discords  in  heaven,  there  ought  to  be  none  upon  earth. 
His  mission  was  to  reduce  all  harmonies  into  the  simplest  con- 
cords, irrespective  of  forbidden  sequences.  Another  issued  a 
work  in  characters,  which  finally  obtained  the  name  of  "  dunce 
notes ;"  and  another  still,  in  which  the  lines  of  the  staff  were 
wholly  excluded.  Such  "  Yankee  productions"  are  not  without 
imitations  at  the  present  day,  when  ignorance  can  no  longer 
be  plead  as  an  apology. 

The  psalm  tunes  of  that  period  were  rude  and  artless ;  and 
most  of  them  contained  passages  of  broken  time  which  did 
great  violence  to  the  language.  Preparations  and  resolutions ; 
cadences,  modulations,  and  rhythmic  forms,  were  things  un- 
known. The  minor  scale  was  usually  without  its  accidentals. 
Chords  were  improperly  constructed,  and  thrown  into  ambigu- 
ous and  forbidden  relations ;  and  the  melody  was  low,  irregular, 
and  fragmentary.  In  short,  every  rule  of  composition  was  vio- 
lated, for  the  good  reason  that  rules  were  not  understood.  Yet 
the  music  gave  satisfaction,  and  in  many  instances  became  so 
strongly  connected  with  devotional  sentiments,  as  to  continue 
long  in  favor. 

The  style  of  singing  was  in  keeping  with  the  character  of  the 
tunes.  Distinct  utterance  was  never  attempted.  Accents  and 
emphases  were  disregarded.  Time  was  imperfect;  and  the 
voice  was  supposed  to  be  developed  and  tuned  by  an  instinct 
of  nature.  All  that  is  now  understood  by  vocalization  was  then 
unknown. 

During  those  long  years  of  musical  practice,  adult  singing 
schools  became  the  favorite  scenes  of  amusement.  They  gave 
the  young  people,  during  the  winter  evenings,  many  an  oppor- 
*  Some  of  his  later  productions  had  less  rudenea*. 


176  FUN  AT  SINGING  SCHOOLS. 

tunity  for  social  converse  and  rustic  gayety.  Occasional  ir- 
regularities excited  no  surprise.  "  Young  folks,7'  it  was  said, 
"must  sometimes  be  together;  they  will  have  their  amuse- 
ments, and  music  is  of  all  things  the  most  harmless.  It  may 
do  them  good  and  be  beneficial  to  society."  Evils  incidentally 
connected  with  the  schools  were  to  be  patiently  endured,  as  be- 
yond the  possibility  of  prevention.  Notions  and  practices, 
which  were  then  very  prevalent,  have  not  yet  wholly  disap- 
peared. 

The  choir  in  the  first  church  in  S ,  may  be  taken  as  a  fair 

specimen  of  the  times  we  are  describing.  As  often  as  once  in 
two  years,  a  regular  singing  school  was  maintained  during  the 
winter  months,  for  three  afternoons  and  evenings  in  a  week. 
Afternoons  were  devoted  to  the  children.  Two  of  the  evenings 
were  spent  at  different  districts  in  school  houses.  The  third 
was  devoted  to  a  general  meeting  in  the  village  ball-room,  on 
Sabbath  evenings,  which  were  not  then  regarded  as  holy  time. 
What  could  be  more  suitable  than  to  u  follow  up"  the  last  hours 
of  the  holy  day  with  the  practice  of  psalmody  ?  The  young 
people  were  in  their  best  dress.  They  were  not  fatigued  with 
labor ;  and  a  little  recreation  appeared  quite  reasonable  after 
the  "confinement  and  the  restraints"  of  the  day.  All  who 
could  u  raise  the  eight  notes"  were  "  natural  singers,"  entitled 
to  the  privileges  of  the  school ;  the  rest  were  "  spectators." 
None  but  special  geniuses  would  learn  to  read  music.  That 
was  the  business  of  teachers  and  choristers.  The  pupils  sought 
amusement,  and  paid  as  little  attention  to  rules  as  possible. 
The  school  had  nothing  to  do  with  religious  order.  It  was  usu- 
ally opened  by  the  odd  canon — 

"  Welcome,  welcome  every  guest, 
Welcome  to  our  music  feast, 
Music  ia  our  only  cheer,"  <fcc. 


FUN   AT   SINGING   SCHOOLS.  177 

Then  there  was  a  catechetical  exercise  upon  the  sixpenny 
gamut.  Then  a  few  tunes  were  sung ;  commencing  separately 
with  the  several  parts  of  the  score,  led  off  by  the  uproarious 
intonations  of  the  teacher,  while  other  portions  of  the  school 
were  whispering,  "  making  faces,"  or  ';  cutting  up"  sly  tricks  of 
merriment,  till  a  signal  was  given  for  a  general  rush  of  a  hun- 
dred harsh  voices,  sufficiently  loud  to  make  the  "  foundations 
tremble."  Several  tunes,  all  taken  up  in  the  same  manner, 
would  occupy  the  first  half  of  the  allotted  season.  Then  came 
the  greatest  charm  of  the  evening — a  long  and  merry  recess,  to 
be  spent  variously,  according  to  the  pleasure  of  individuals. 
Some,  if  the  evening  was  pleasant,  would  ';  start  off  on  a  sleigh- 
ride,"  and  be  seen  no  more.  Some  would  retire  to  the  bar- 
room to  "  clear  their  throats  of  cobwebs."  Others  would  be 
talking  nonsense,  or  romping,  or  dancing,  or  joining  in  loud 
laughter  or  merry  songs.  At  length  a  loud  stamp  of  the  foot, 
with  a  vociferating  call  for  "  silence,"  would  be  the  signal  for 
the  gradual  termination  of  the  uproar.  The  remainder  of  the 
evening,  on  account  of  the  many  absentees,  would  drag  heavily ; 
the  parts  would  be  ill  sustained,  and  the  performances  would 
close  in  a  languid  and  listless  manner. 

Such  were  the  biennial  schools  for  the  improvement  of  this 
choir,  and  the  intervening  winters  usually  gave  rise  to  rehear- 
sals of  a  similar  character,  conducted  in  turn  by  some  four  or 
five  choristers,  chosen  by  the  choir  from  their  own  numbers, 
for  this  particular  purpose.  The  rehearsals  were  not  supposed 
to  have  any  immediate  bearing  upon  sacred  things.  They  were 
considered  by  all  classes  as  scenes  of  amusement. 

Singers  thus  trained,  would  know  little  of  the  spirit  of  praise. 
They  were  not  even  formal  worshippers.  They  gratified  their 
own  notions  of  taste,  and  sung  so  as  to  please  the  people  with 
their  music*.     Morally  considered,  they  were  as  so  many  bas- 

8* 


178  FUN  AT  SINGING  SCHOOLS. 

soons,  and  flutes,  and  fiddle-strings.  This  was  the  general  idea 
of  responsibility,  and  the  soundness  of  it  was  unquestioned. 
The  leading  singers  were  triflers  amid  the  public  solemnities. 
They  would  have  shrank  from  the  slightest  imputation  of  per- 
sonal piety. 

With  this  state  of  things,  the  grand  adversary  of  souls 
seemed  entirely  satisfied.  An  occasional  preference  for  partic- 
ular seats,  was  the  only  cause  of  disquietude,  but  this  would  be 
easily  obviated.  When  people  have  made  such  permanent  ar- 
rangements for  heartless  praise,  the  tempter  seldom  disturbs 
them  seriously. 

The  people  of  the  S church  were  sinning  ignorantly. 

They  were  influenced  by  the  examples  which  surrounded  them. 
They  adopted  the  prevailing  notions  and  practices  without  ex- 
amination, and  for  many  years  entertained  no  suspicion  of  their 
impropriety.  But  a  pleasing  revival'  of  piety  among  them,  ef- 
fected a  gradual  change  in  their  views  of  psalmody.  Men  be- 
gan to  think  earnestly  on  practical  subjects,  and  with  more  in- 
dependence of  mind.  "  Why  should  music  pretend  to  be  vocal, 
unless  there  was  a  distinct  utterance  of  words  ]  And  why 
should  words  be  used  in  the  exercise  of  praise,  without  corre- 
sponding purposes  and  feelings  in  the  singers  ?  This  cannot  be 
right ;  for  praise  involves  the  same  responsibility  as  prayer. 
If  this  be  not  so,  why  are  we  supplied  with  such  heaven-wrought 
language  for  our  themes  of  song  ?"  Then  again,  they  said,  "  If 
praise  is  such  a  responsible  employment,  why  such  trivial  and 
misguided  preparations  as  are  witnessed  in  our  schools  and  re- 
hearsals, and  why  such  an  unmeaning  and  frivolous  style  of 
music  V  These  questions,  suggested  at  first  by  Christian  ex- 
perience and  observation,  grew  in  importance  as  piety  was 
deepening,  and  men  were  becoming  more  spiritual.  The  ne- 
cessity of  entire  reform  became  manifest ;  and  now,  as  might 


FUN   AT   SINGING  SCHOOLS.  179 

have  been  anticipated,  the  adversary  was  wide  awake.  The 
choir  were  thrown  into  a  ferment  at  the  ingratitude  of  the  peo- 
ple. This  led  some  of  the  weaker  brethren  to  declare  in  their 
favor,  and  some  of  the  timid  ones  to  wink  at  abuses,  as  if  they 
had  been  incurable.  But  the  more  enlightened  members  of  the 
church  could  by  no  means  consent  to  encourage  mere  lip-service, 
and  soon  the  whole  congregation  were  beginning  to  participate 
in  the  trouble. 

The  pastor  watched  the  gathering  storm,  and  prepared  for 
effort.  He  called  together  the  friends  of  reform  for  a  special 
conference.  "  What  is  to  be  done  V  said  he.  "  Not  one  of 
you  has  sufficient  musical  knowledge  to  act  as  chorister.  At 
present  there  is  not  talent  sufficient  in  the  church  to  render  the 
singing  decent,  without  the  aid  of  the  choir.  The  very  attempt 
would  subject  us  to  ridicule.  But,  brethren,"  he  added,  "  your 
views  of  the  necessity  of  reform  are  right  and  scriptural.  The 
only  question  is,  how  shall  they  be  realized  f  A  long  conver- 
sation ensued.  Some  were  for  immediately  disbanding  the 
choir.  Others  were  for  training  a  new  choir,  who  should  sing 
from  Christian  motives.  Others  still  were  in  favor  of  a  ser- 
mon from  the  pastor,  which  should  bring  before  the  people  the 
whole  subject  in  its  true  merits.  And  yet  there  were  others, 
who,  when  they  saw  that  the  subject  would  probably  make  dif- 
ficulty, were  in  favor  of  an  entire  abandonment  of  responsibil- 
ity. But,  finally,  the  pastor  suggested  that  the  singers  were  not 
alone  in  fault.  The  church  had  been  guilty  of  culpable  neglect. 
':  Even  the  reformers,"  said  he,  u  may  need  reforming.  Possi- 
bly, in  the  sight  of  God,  we  may  be  more  guilty  than  the  choir, 
in  that  we  have  cast  off  all  responsibility."  It  was  a  home- 
thrust,  and  not  a  word  was  offered  in  reply.  "Brethren,"  he 
added,  M  if  we  feel  this  to  be  true,  let  us  acknowledge  it.  Let 
us  g  3  to  the  choir  and  confess  our  fault,  speak  kindly  to  them 


180  FUN  AT   SINGING   SCHOOLS. 

of  duty,  pray  with  them,  and  help  them  as  far  as  we  are  able, 
at  their  rehearsals,  and  their  performances  on  the  Sabbath.  Let 
us  do  this  thing  wisely  and  meekly,  and  who  can  tell  but  we 
shall  meet  with  the  Divine  blessing  I"  It  was  a  happy  thought. 
The  proposal  was  adopted,  and  carried  into  effect.  The  singers 
were  surprised,  instructed,  gratified,  and  melted.  Several  of 
them  became  pious ;  and  though  the  improvement  in  adaptation, 
in  style,  and  in  spirituality  was  gradual,  the  object  was  finally 
accomplished.  Again  all  troubles  were  at  an  end  ;  for  the  ad- 
versary on  being  resisted,  had  taken  his  flight. 

Two  opposite  methods,  it  seems,  may  secure  tranquillity  in 
our  musical  arrangements — either  entire  heartlessness,  or  thor- 
ough consecration  of  spirit.  We  can  occupy  no  middle  ground, 
and  be  free  from  difficulties. 


XXX. 

OLD  TUNES  vs.  NEW. 

44  Words  fitly  9poken,  are  like  apples  of  gold  in  pictures  of  silver."— SoLorfo*. 

u  We  must  have  a  change,"  said  Deacon  Aged,  to  the  few 
parishioners  who,  after  church,  were  standing  around  their  pas- 
tor.    "  The  singing  does  not  give  satisfaction." 

"The  singing  was  pretty  fair  to-day,  deacon,"  replied  the 
pastor,  mildly. 

"  Yes,  but  many  people  complain  of  it,  and  the  singers  seem 
determined  to  have  their  own  way." 

u  Perhaps  they  are  not  aware  of  the  dissatisfaction." 

"  O  yes,  they  are,"  said  Doctor  Cupping,  "  they  cannot  help 
knowing  it.     It  is  the  common  talk  of  the  people." 

"  I  have  understood,"  said  Mr.  Wise,  "  that  there  is  com- 
plaint in  some  quarters." 

"  But,"  said  Deacon  Young,  "  we  certainly  have  a  well-train- 
ed choir,  and  an  excellent,  efficient  leader.  To  me,  the  singing 
is  delightful.  Many  of  the  people  are  highly  pleased  with  it ; 
and  I  know  not  that  it  was  ever  finer  than  at  the  present 
time." 

"  So  much  the  worse,"  said  Deacon  Aged,  "  if  the  style  is 
inappropriate.  We  do  not  need  a  musical  concert  on  the  Sab- 
bath for  our  edification.  I  cannot  endure  this  new-fangled  mu- 
sic.    I  like  the  old  standard  tunes." 


182  OLD   TUNES   VS.  NEW. 

"  So  do  I,"  said  Mr.  Wise. 

The  doctor  agreed  with  them,  but  the  pastor  did  not  commit 
himself ;  for  he  was  decidedly  a  man  of  progress,  just  as  the 
others  had  been  when  they  were  younger  and  were  often  at  the 
rehearsals.  He  was,  however,  in  favor  of  congregational  sing- 
ing, and  was  prepared  in  some  measure  to  aid  in  its  promo- 
tion, if  his  people  should  be  so  disposed.  Nor  had  he  "  any 
objection  to  old  tunes,  if  only  they  were  good  ones." 

"  I  am  glad  to  hear  you  speak  so  decidedly,"  said  the  doctor. 
"  I  had  supposed  you  altogether  in  favor  of  the  choir." 

"  And  what  if  the  supposition  is  true  ?"  replied  the  pastor. 
"  Perhaps  I  ought  to  be  in  their  favor.  They  appear  to  be 
conscientious  in  the  course  they  are  pursuing ;  and  they  certain- 
ly can  have  no  intention  of  displeasing  us.  They  can  have  no 
motive  to  do  amiss  ;  though,  of  course,  they  are  imperfect  like 
the  rest  of  us." 

"  In  earlier  days,  when  my  practice  was  less,"  said  the  doc- 
tor, "  I  often  sat  with  the  singers  and  enjoyed  the  music  ;  and 
the  tunes  we  then  sung,  I  always  think,  are  the  best  in  the 
world.  I  never  listen  to  them  without  bringing  old  scenes  to 
mind.  Many  of  the  people  would  sing  them  now,  if  they  were 
to  be  given  out ;  and  then  we  should  have  something  like  con- 
gregational music,  which  all  could  enjoy." 

"  I  am  of  the  same  mind,"  said  Mr.  Impulsive.  "  The  choir 
and  the  leader  ought  to  be  severely  censured." 

"  Why  severely  ?n  said  Mr.  Wise. 

"  They  have  no  business  to  select  such  miserable  tunes." 

"  They  are  not  our  hired  servants." 

"  But  they  have  no  right  to  disoblige  other  people  just  for 
their  own  gratification." 

"  You  speak,"  said  Deacon  Young,  "  as  if  the  entire  congre- 
gation were  displeased." 


OLD  TUNES   VS.  NEW.  183 

"  Yes,  and  I  intend  to  tell  them  so." 

"  But  you  mistake — " 

"  I  have  heard  several  complain." 

"  And  I  have  heard  many  express  their  delight.  Others  be- 
sides them  would  doubtless  be  pleased,  if  left  without  bias  ;  in 
matters  of  taste,  like  those  of  diet,  a  little  infusion  of  sourness 
will  spoil  the  whole  dish." 

"  True,"  said  Mr.  Wise,  "  this  spirit  of  fault-finding  must  in- 
jure the  influence  of  the  singers,  without  helping  the  music." 

"  It  will  naturally  create  dissension  and  bitterness  of  feeling," 
said  the  pastor. 

"  Yes,  yes,"  said  Mr.  Impulsive,  "  there  may  be  difficulties, 
if  we  delay.  I  think  with  Deacon  Aged — we  must  have  a 
change,  and  the  sooner  the  better." 

"  But,  every  change,"  said  Mr.  Wise,  "  may  not  be  an  im- 
provement. Look  at  the  congregation  of  Overton.  Dispatch 
has  long  been  the  watchword  there  ;  yet  every  change  among 
that  people  has  proved  but  a  useless  somerset.  We  ought  to 
act  with  more  deliberation." 

"  Brethren,"  said  the  pastor,  tenderly,  "  have  any  of  you 
spoken  kindly  to  the  singers  on  this  subject  V* 

All  wrere  silent. 

"  Not  any  of  you  1     Not  one  P 

There  was  no  answer,  for  the  thing  had  been  wholly  neglect- 
ed, while  complaints  in  the  presence  of  others  had  been  unre- 
strained. 

"  You  perceive,  then,"  continued  he,  "  the  plain  path  of 
duty." 

"  Enough  has  been  said,"  replied  Deacon  Aged  and  the  doc- 
tor. 

"  Too  much,  I  fear,"  said  the  pastor,  "  and  all  in  the  way  of 
evil  speaking.     I  appeal  to  you,  brethren,  to  say  whether  this 


184  OLD  TUNES   VS.  NEW. 

is  fair  dealing.  Many  of  the  choir  are  our  much-loved  commu- 
nicants ;  and  if  the  case  were  otherwise,  such  a  course  as  we 
are  pursuing  could  by  no  means  be  justified.  Let  us  be  right 
ourselves  before  we  talk  of  further  proceedings." 

There  was  another  pause.  All  felt  reproved.  Mr.  Impul- 
sive withdrew.  The  truth  was,  a  few  influential  men,  once  tol- 
erable singers,  but  now  neglecters  of  the  practice,  had  felt  them- 
seives  licensed  to  speak  freely  of  every  real  or  imaginary  fault 
of  the  choir,  as  if  the  members  had  been  slaves  or  prisoners 
of  war.  No  obligation  was  felt  to  the  singers.  Their  efforts 
were  not  appreciated,  their  comforts  were  disregarded,  and 
they  were  treated  as  public  offenders.  This  had  been  done 
thoughtlessly  ;  for  it  was  then  no  uncommon  thing  in  the  his- 
tory of  psalmody.  Ideas  of  style  were  regarded  too  exclusive- 
ly ;  and  men  might  show  their  own  taste  by  depreciating  the 
taste  of  others.  Those,  too,  who  were  more  conscientious  in 
their  complaints,  never  seemed  to  suspect  that  any  measure  of 
dissatisfaction  they  experienced  was  owing  to  themselves — to 
their  own  total  discontinuance  of  the  practice  of  psalmody  at 
home  and  abroad.  They  felt  troubled,  and  therefore  spoke  out 
their  feelings  without  reserve.  The  impropriety  of  such  a 
course,  till  now,  had  not  occurred  to  them.  The  pastor's  ad- 
vice prevailed ;  and  Deacon  Aged,  Mr.  Wise,  and  the  doctor, 
consented  to  hold  a  friendly  conversation  with  the  leader  of  the 
choir  before  the  return  of  another  Sabbath. 

The  leader  of  the  choir  was  an  intelligent  man.  He  was  a 
man  of  piety,  remarkable  for  prudence,  meekness,  and  calm  de- 
cision. Deacon  Young  apprized  him  of  the  intended  visit,  and 
gave  him  a  kind  intimation  of  the  topics  which  would  be  pre- 
sented. This  allowed  him  time  for  preparation.  The  com- 
mittee were  cordially  received.  After  spending  two-thirds  of 
the  evening  in  desultory  conversation,  the  principal  topic  was 


OLD  TUNES  VS.  NEW.  185 

taken  in  hand.  The  people,  the  committee  were  sorry  to  say, 
had  become  dissatisfied  with  the  music,  and  wished  the  choir  to 
confine  their  selections  chiefly  to  the  old  tunes. 

"  But,  how  is  this  1"  gently  responded  the  leader.  "  All  who 
have  hitherto  spoken  to  me  on  this  subject,  have  commended 
the  selection  and  spoken  well  of  the  performances.'' 

"  You  doubt  the  truth  of  our  statement  then,"  replied  the 
deacon,  drily. 

M  I  receive  it  as  coming  from  a  true,  honest  heart,  but — " 

"  But  you  question  its  truth." 

"  Rather  say  its  correctness." 

';  You  doubt  whether  the  thing  is  so." 

"  How  can  I  help  doubting  when  more  than  fifty  influential 
people,  many  of  whom  are  reputed  as  good  judges  of  music, 
have  expressed  themselves  so  decidedly  on  the  subject  '?" 

The  deacon  was  now  tempted  to  ask  him  if  he  had  never 
heard  of  any  uneasiness  among  the  people.  The  thought 
"  came  to  his  tongue's  end,"  but  a  rising  blush  showed  that  the 
good  pastor's  reproof  had  not  been  forgotten. 

"  There  must  be,  somewhere,  a  misapprehension  of  the  mat- 
ter," said  the  leader.  "  But  if  I  know  of  any  who  are  dissatis- 
fied, I  ought  to  be  willing  to  listen  to  the  complaint.  Here  are 
three,  at  least,  and  they  tell  me  of  '  many  more'  who  sympa- 
thize with  them." 

"  Just  so,"  said  Mr.  Wise. 

"  More  than  you  imagine,"  said  the  doctor. 

"  More  than  half  the  congregation,  /think,"  said  the  deacon. 

"  This  is  strange,"  said  the  leader.  "  You  advise  me  to  re- 
sign, then.  That  can  easily  be  done.  If,  with  all  my  labor, 
and  care,  and  self-denial,  I  am  only  performing  an  unacceptable 
service  in  view  of  my  fellow- worshippers,  perhaps  I  ought  to 
resign." 


186  OLD  TUNES  VS.  NEW. 

They  were  rather  taken  aback  by  this  suggestion,  especially 
as  it  was  offered  in  a  calm  and  kind  manner.  The  little  pit- 
tance that  had  been  voted  for  his  services  was  no  object  to  him. 
He  had  no  earthly  interest  in  leading  the  music  unless  he  could 
be  useful.  But  the  committee,  of  course,  shrank  from  the  idea 
of  his  resignation  at  that  time.  They  had  no  notion  of  that 
sort.  They  only  desired  that  there  might  be  "  a  change  in  the 
selection  of  tunes." 

"  I  am  happy  to  know  in  this  committee,"  said  the  leader, 
"  such  men  as  have  been  taught  some  lessons  by  personal  expe- 
rience which  they  may  readily  bring  to  mind.  Brethren," 
said  he,  "  would  the  choirs  to  which  you  respectively  belonged 
in  earlier  days,  have  ever  consented  to  confine  themselves  to 
the  practise  and  performance  of  tunes  that  were  then  destitute 
of  novelty." 

It  was  a  hard  question,  and  their  answers  were  evasive.  Ke 
pressed  his  advantage. 

"  If  I  comply  with  your  request,  can  you  encourage  me  to  hope 
that  the  singers  will  continue  punctual  at  the  rehearsals,  which 
at  all  hazards  must  be  maintained — that  they  will  dwell  with 
never-tiring  interest  upon  music  which  has  become  stale  to  them 
by  endless  repetition  ?  You,  gentlemen,  are  in  different  cir- 
cumstances. You  have  long  since  abandoned  the  practise  of 
music,  and  can  fall  back  upon  by-gone  associations.  The  songs 
of  praise  are  perhaps  not  even  heard  in  your  families.  Yet, 
believe  me,  if  you  were  now  to  resume  the  practise,  you  would 
soon  be  tired  of  past  remembrances,  and  require,  as  we  do,  oc- 
casional supplies  of  new  music." 

There  was  no  reply.  The  truth  was  too  palpable  to  admit 
of  a  further  question  ;  and  they  evidently  felt  its  force.  An  ef- 
fort was  made  to  waive  this  topic  and  consider  the  expediency 
of  congregational  singing.     To  this,  the  leader  would  attend  in 


OLD  TUNES   VS.  NEW.  187 

due  time  ;  but  since  they  had  put  him  on  the  defensive,  they 
could  not  object  to  hear  what  further  he  had  to  offer. 

"  Gentlemen,  if  you  could  succeed  with  the  choir  in  realizing 
your  wishes,  could  you  defend  me  from  complaints  which  would 
arise  from  people  of  reputed  taste  among  us — the  more  than 
fifty  influential  persons  who  have  volunteered  their  commenda- 
tions of  the  music  V 

u  We  can  do  it,"  replied  Mr.  Wise,  "  as  easily  as  you  can 
satisfy,  at  the  present  rate,  the  many  individuals  who  are  now 
complaining." 

"  Exactly  so,"  said  the  doctor. 

"  Just  so,  I  was  thinking,"  said  the  deacon. 

"  But  remember,  gentlemen,"  he  replied,  "  there  is  one  re- 
markable difference  in  the  two  cases.  The  one  party  are  en- 
couraging and  the  other  neglecting  the  art.  Should  the  former 
have  no  manner  of  preference  ?  As  far  as  was  practicable,  I 
would  also  consult  the  feelings  of  the  latter.  I  would  desire  to 
please  them.  But  you  admit  that  cultivation  is  indispensable  ; 
and  can  this  be  pursued  if,  for  the  accommodation  of  the  neg- 
lecters,  we  sacrifice  all  considerations  of  personal  taste,  and  sus- 
ceptibility, and  enjoyment?" 

Once  more  there  was  an  effort  to  change  the  conversation, 
which  did  not  entirely  succeed.  There  was  yet  another  topic 
for  the  consideration  of  the  committee ;  but,  as  the  evening  was 
fully  spent,  they  politely  excused  themselves,  and  promised 
soon  to  call  again.  The  truth  was,  they  had  taken  an  unexpect- 
ed lesson,  which  required  reflection ;  and  this,  after  the  pastor's 
searching  reproof,  was  working  powerfully  upon  their  minds. 
Considerations  had  been  placed  before  them  which  could  not 
easily  be  set  aside ;  and  the  committee  were  not  men  who  chose 
to  act  unreasonably. 

Meanwhile,  another  Sabbath  was  approaching.     It  was  the 


188  OLD  TUNES   VS.  NEW. 

season  of  spring,  when  everything  was  in  full  bloom.  The  day 
dawned  beautifully.  Not  a  cloud  was  to  be  seen.  The  assem- 
bly was  large.  All  of  the  choir  were  present.  They  had 
gained  some  intimation  of  the  action  of  the  committee ;  but  the 
leader  assured  them  that  the  interview  had  been  a  pleasant 
one ;  and  that  there  was  no  occasion  for  anxiety.  The  exer- 
cises proceeded,  and  the  music  was  more  delightful  than  ever. 
The  committee,  whose  tone  of  feeling  had  been  considerably 
modified,  began  to  imagine  that  already  there  was  some  appear- 
ance of  improvement.  The  diminution  of  prejudice  was  favor- 
able to  the  increase  of  susceptibility.  Even  the  deacon  thought 
the  new  tunes  seemed  "  better  than  usual." 

Matters  were  evidently  getting  into  a  good  train.  The  com- 
mittee felt  little  inclination  for  further  interference ;  but  they 
had  promised  another  call,  and  must  redeem  their  pledge.  In 
a  few  days  they  did  so.  Desultory  talk  again  consumed  most 
of  the  evening,  when  the  moment  came  for  the  reserved  topic. 

"  Gentlemen,"  said  the  leader,  "  you  are  all  agreed  in  prefer- 
ring the  old  tunes  V 

"  We  are,"  was  the  reply. 

"  But  that  is  not  sufficiently  definite.  Let  us  see  whether  you 
could  agree  as  to  the  selection.  Deacon  Aged,  have  the  good- 
ness to  name  two  or  three  of  your  favorite  tunes." 

"  Why  /  like  such  good  old  tunes  as  Wantage,  Bangor,  and 
Funeral-Thought.  Fifty  years  ago  we  used  to  sing  them  al- 
most every  Sunday." 

"  O,  nonsense,  deacon,"  said  the  doctor ;  "  those  old  things 
would  never  go  down  with  the  people.  I  prefer  such  tunes  as 
Huntington,  Greenwich,  and  Mortality.  Such  tunes  used  to 
please  everybody,  some  twenty  or  thirty  years  ago." 

"  Rather  a  tough  dose  you  are  preparing,  doctor,"  said  Mr. 
Wise.     He  was  a  younger  man,  and  had  a  better  taste.     His 


OLD  TUNES  VS.  NEW.  189 

own  preferences  would  have  been  more  to  the  purpose.  But  it 
was  useless  to  name  them.     There  could  be  no  agreement. 

"  You  perceive,  then,  gentlemen,"  said  the  leader,  "  exactly 
how  the  case  stands.  If  you  could  agree  in  making  out  a  small 
list  of  old  tunes  for  practice,  I  would  cheerfully  lay  it  before  the 
choir  for  their  consideration.  But  this  cannot  be.  Your  tastes 
are  as  widely  different  from  each  other  as  they  are  from  my 
own.  I  will,  however,  do  the  best  I  am  able.  We  occasionally 
sing  old  tunes,  and  shall  continue  to  do  so  with  increasing 
pleasure,  if  they  are  likely  to  prove  acceptable.  But  you  now 
perceive  that  a  full  compliance  with  your  request  would  be  im- 
practicable." 

This  could  not  be  denied,  and  the  committee  had  the  good 
sense  and  the  magnanimity  to  relinquish  the  proposal. 

"  But  allow  me,  gentlemen,"  he  resumed,  ';  to  make  one  far- 
ther suggestion.  Widely  different  as  your  preferences  are  from 
each  other,  there  is  one  respect  in  which  they  substantially 
agree.  Each  of  you,  at  some  period  in  life,  suddenly  relin- 
quished the  practice  of  music,  since  which  time  you  have  made 
no  farther  progress.  Now  you  are  dwelling  upon  past  remem- 
brances, just  as  if  the  car  of  improvement  had  stopped  forever 
from  the  moment  in  which  you  left  it.  Here  lies  the  grand  se- 
cret of  such  diversities  in  taste.  They  are  not  peculiar  to  this 
people  nor  to  the  present  generation.  Musical  history  sheds  a 
flood  of  light  upon  this  subject.  But,  neither  the  choir  nor  the 
leader  can  claim  to  be  infallible.  We  may  not  have  been  suffi- 
ciently solicitous  about  the  feelings  of  our  fellow  worshippers. 
Possibly,  too,  we  have  all  been  disproportionately  solicitous 
about  the  kind  of  music  which  is  to  be  the  instrument  of  spir- 
itual worship.  We  will  all  try  to  reform  in  this  particular. 
Come  into  our  schools  and  rehearsals.  Join  with  us  on  these 
occasions  in  prayer  and  praise.     We  will  be  with  you  at  the 


190  OLD  TUNES   VS.  NEW. 

evening  lectures.  Some  of  the  tunes  you  then  sing  shall  be 
sung  afterwards  on  the  Sabbath.  This  will  be  one  step  towards 
introducing  congregational  singing.  Then,  let  us  all  have  sing- 
ing in  our  families,  and  teach  our  children  to  sing.  In  this  way 
we  shall,  under  the  divine  blessing,  soon  begin  to  feel  united 
as  Christian  worshippers,  with  real  delight  in  the  offerings  of 
praise." 

The  committee  expressed  their  satisfaction  at  the  proposal ; 
and  consented  to  act  in  accordance  with  it.  Others  followed 
their  example,  and  the  disquietudes  which  had  arisen  were  soon 
forgotten. 


XXXI. 

MAL-ADAPTATIONS. 

M  Wherever  I  have  heard 
A  kindred  melody,  the  scene  recurs."— Co  wper. 

Many  of  the  lovers  of  music  in  this  country,  seem  quite  ig- 
norant of  the  importance  of  mental  associations  in  the  culti- 
vation of  taste.  The  deficiency  is  everywhere  apparent.  A 
decidedly  comic  tune,  for  instance,  sung  in  revolutionary  times 
by  enemies  of  the  country,  ill  utter  derision  of  our  cause  and 
character,  has  become  a  favorite  national  melody.  It  holds  the 
same  place  among  Americans  that  the  noble  tune  "  God  save 
the  King"  does  in  England,  notwithstanding  the  unmistakable 
expressions  of  ridicule  which  adhere  to  the  melody.  A  similar 
instance  has  occurred  in  religious  music.  A  scoffing  infidel,  it 
is  said,  had  set  some  miserable  doggrels  to  an  old  "  jigue-tune," 
in  derision  of  the  scenes  of  the  final  judgment.  The  infidel 
was  afterwards  converted  ;  so  thenceforward  the  mock  produc- 
tion must  be  circulated  without  alteration,  as  if  it  had  been  a 
precious  gift  to  the  churches.  Examples  are  often  met  with, 
where,  by  a  double  power  of  association,  both  the  tune  and 
the  words  bring  some  ridiculous  scenes  to  mind.  People  who 
have  little  knowledge  of  such  matters  may  not  always  be  trou- 
bled ;  but  they  do  great  violence  to  the  feelings  of  those  who 
are  well-informed. 


192  MAL- ADAPTATIONS. 

Mal-adaptations  less  striking  have  perhaps  been  equally  in- 
jurious. If  once  found  in  good  soc~*2ty,  they  maintain  their  per- 
nicious popularity  in  defiance  of  the  claims  of  a  better  taste. 

The  choir  attached  to  one  of  the  larger  churches  in  the  town 
of  Hammerwell,  had  used  for  a  few  years  the  rudest  produc- 
tions of  American  music  which  were  to  be  found.  The  chaster 
specimens  of  English  music  which  were  subsequently  taken  in 
hand,  formed  too  strong  a  contrast  with  their  predecessors  to  give 
satisfaction.  This  music  seemed  comparatively  heavy  and  dull. 
It  did  not  appear  to  be  in  keeping  with  American  activity.  Oc- 
casional uneasiness  was  beginning  to  manifest  itself;  when  a 
teacher  came  along  with  an  ample  supply  of  the  luckless  mal- 
adaptations  to  which  we  have  referred.  They  seemed  at  first 
view  to  supply  the  exact  deficiency  which  was  felt.  The  follow- 
ing specimens  will  sufficiently  designate  their  character.  The 
music  composed  to  "  Sweet  Anne  Page"  (the  words  found  in 
one  of  Shakspeare's  comedies),  was  applied  to  a  passage  in  the 
hymns,  "  One  there  is  above  all  others,"  "  O  how  he  loves  !" 
That  of 

"  Farewell,  ye  green  fields  and  sweet  groves 
Where  Phillis  engaged  my  fond  heart," 

was  applied  to 

"Ye  angels  who  stand  round  the  throne." 

This  old  love-ditty  is  now  so  extensively  introduced  among 
the  churches,  as  not  to  be  easily  recalled.  The  tune  "  Auld 
lang  syne"  was  set  to  "Jerusalem,  my  happy  home."  The 
"  Few  happy  matches"  to  "  Lo,  on  a  narrow  neck  of  land,"  and 
"  When  I  was  brisk  and  young"  to  "  Let  sinners  take  their 
course." 

The  exact  history  of  this  music  was  not  understood  by  the 


MAL- ADAPTATIONS.  193 

singers ;  and  they  anticipated  for  it  a  most  cordial  reception 
among  the  good  people  of  the  congregation. 

After  a  Sabbath  or  two  had  passed,  a  lady  of  some  distinc- 
tion exclaimed  to  the  chorister — ;i  O  how  could  you  sing  such 
a  tune  !  I  used  in  my  days  of  folly  to  dance  to  it  as  a  minuet ! 
I  could  not  keep  the  scenes  out  of  mind  while  you  were  sing- 
ing." Another  said — "  Only  think  of '  Babbling  echo'  convert- 
ed into  a  psalm-tune  !  Who  ever  heard  of  such  a  thing  1  In 
spite  of  all  I  could  do,  the  foolish  old  words  would  come  back 
upon  me !" 

The  chorister  went  home  mortified,  but  hoped  for  better 
things  to  come.  The  next  two  Sabbaths  were  more  successful. 
The  dramatic  song  "  Little  Pickle"  to  the  words  u  Not  to  our 
nafnes,"  did  not  happen  to  be  recognized  ;  for  none  of  the 
people  were  frequenters  of  the  theatre.  The  Sabbath  after 
was  quite  disastrous.  "  Why  didn't  you  sing  the  old  words 
1  We'll  tak'  a  cup  o'  kindness  yet  V  "  said  one  in  derision. 
"  How  could  you  sing  that  old  merry  catch  !"  said  another. 
"  Next  Sunday  I  advise  you  to  sing  '  Drink  to  me  only."  and 
'  Moll  Brook,'  and  ;  Dan  Tucker  !'  "  said  a  third.  u  That  will 
never  do,  Mr.  Chorister,"  said  a  fourth.  "  The  old  scenes  of 
folly  will  come  back  upon  us,  if  you  give  us  the  music  with 
which  they  have  been  so  strongly  associated.  Such  music  but- 
ill  accords  with  the  exalted  themes  of  our  religion." 

The  experiment  was  over.  That  whole  class  of  pieces  fell  at 
once  into  disrepute  with  the  people.  Neither  the  chorister  nor 
the  singers  could  longer  endure  them.  Yet  they  gained  a  foot- 
ing in  many  other  congregations,  and  did  great  injury  to  the 
progress  of  taste.  Several  of  them  are  still  used  in  private 
circles,  and  it  may  be  a  weary  while  before  such  things  as 
';  Lang  syne,"  "  Anne  Page,"  "  Brisk  and  young,"  and  "  Indian 
Philosopher,"  are  entirely  banished  from  good  society. 

9 


194  UA  L-  ADAPTATIONS. 

Meanwhile,  an  important  lesson  had  been  given  to  the  more 
intelligent  musicians  who  were  engaged  in  the  cultivation  of 
psalmody.  From  the  eagerness  with  which  such  pieces  were 
at  first  received,  it  became  evident  that  the  people  of  this  coun- 
try required  strains  of  music  which  were  of  a  simple,  yet  vig- 
orous and  spirit-stirring  character.  The  people  at  large  were 
not  musicians,  nor  even  good  judges  of  music.  But  they  could 
feel  the  power  of  such  strains  and  be  benefited  by  them.  Their 
wants  must  be  met.  The  interests  of  religion  required  such  a 
step,  and  even  the  sound  progress  of  taste  would  ultimately  be 
promoted  by  it.  Foreign  teachers  demurred.  Learned  pro- 
fessors ridiculed.  Amateurs  were  displeased ;  but  the  meas- 
ure prevailed  ;  and  to  this  circumstance,  perhaps,  more  than  to 
any  other,  may  be  attributed  the  present  revival  of  interest  *n 
psalmody  throughout  the  American  churches.  Melodies  which 
are  new  and  attractive,  and  at  the  same  time  chaste  and  sim- 
ple, are  widely  circulated  in  every  direction.  They  have  exten- 
sively taken  the  place  of  those  mal-adaptations,  and  are  supply- 
ing a  want  which  has  been  deeply  felt.  It  was  well  for  the 
choir  at  Hammerwell  that  such  a  style  was  beginning  to  pre- 
vail ;  for  by  adopting  it  they  gained  an  essential  step  in  the 
progress  of  improvement.  Their  performances  became  ani- 
mated and  characteristic,  and  ultimately  more  effective  and  de- 
votional. The  melodies  were  such  as  all  could  enjoy  and  re- 
member ;  and  they  carried  them  into  the  bosom  of  their  fam- 
ilies, and  taught  them  to  their  children,  and  thus  laid  a  substan- 
tial foundation  for  future  improvement. 

Many  of  the  old  melodies  of  Europe  are  connected  with  im- 
portant historical  associations,  which  have  a  tendency  to  per- 
petuate their  interest.  This  circumstance  has  had  much  to  do 
in  forming  the  characteristics  of  transatlantic  psalmody.  Our 
country  is  yet  too  young  to  count  on  such  influences.    We  can- 


MAL- ADAPTATIONS.  195 

not  yet  point  to  churches  and  cathedrals  venerable  for  their  an- 
tiquity, which  witnessed  the  songs  of  ancient  worthies,  martyrs, 
and  reformers  ;  but  if  we  wish  to  lay  well  the  foundation  of 
stability  in  the  fabric  of  taste,  it  becomes  us,  while  we  employ 
effective  melodies,  to  be  jealous  of  the  associations  with  which 
they  are  or  have  been  connected. 


XXXII. 

DESPISING  CULTIVATION. 

"  Considered  nought 
Of  duty's  royal  edicts,  that  command 
Thy  talents  to  be  lent."— Tupper. 

A  deficiency  in  musical  skill  within  the  limits  of  a  particular 
town,  is  often  occasioned  by  the  unhappy  influence  of  a  few 
prominent  individuals.     An  example  of  this  sort  was  furnished 

by  the  village  of  M .     The  clergyman,  the  lawyer,  and  the 

physician  residing  there,  were  men  who,  while  at  college, 
adopted  the  notion  then  prevailing,  that  music  was  unfavorable 
to  sound  scholarship,  and  who  never  afterwards  paid  sufficient 
attention  to  the  subject,  for  the  discovery  of  their  error.  They 
admitted  in  theory  the  importance  of  church  music,  but  as  none 
of  them  or  their  families  could  sing,  their  example  of  practical 
disregard,  had  a  decided  influence  among  the  more  intelligent 
villagers.  Music  had  "  no  necessary  connection  with  literature," 
and,  as  an  ornamental  branch  of  education,  it  was  lightly 
esteemed. 

The  three  families  were  remarkable  for  Christian  activity  in 
other  things.  They  stood  foremost  in  benevolent  enterprises. 
But  not  knowing  to  what  extent  a  talent  for  music  is  the  off- 
spring of  culture,  they  always  excused  themselves  from  the 
practice  of  psalmody.  They  could  pretend  to  no  musical  taste, 
and  they  seemed  rather  to  glory  in  the  deficiency.  The  doctor 
said  that  he  "  liked  best  the  music  of  a  mortar  and  pestle." 


DESPISING  CULTIVATION.  197 

The  lawyer  said  that,  in  his  opinion,  the  fondness  for  music 
which  many  seemed  to  possess,  '•  had  more  to  do  with  affecta- 
tion than  with  refined  sensibility."  For  his  part,  he  "  would 
give  more  for  one  real  specimen  of  forensic  eloquence,  than  for 
all  the  concerts  and  oratorios  of  the  land."  The  clergyman 
evidently  expected  but  little  advantage  from  the  singing.  He 
rather  thought  with  some  eminent  writers,  that  music  had  "  its 
strongest  influence  upon  semi-barbarous  nations,"  and  he  had 
remarked,  that  in  these  latter  days,  "  some  of  the  best  Chris- 
tians were  the  most  indifferent  singers."  The  former  pastor  of 
that  people  had  paid  no  attention  to  music,  and  why  should  not 
his  example  be  followed  1  "  A  man  ought  at  least  to  know  one 
tune  from  another,  if  he  has  anything  to  do  with  music." 

The  present  clergyman  was  an  excellent  pastor.  He  loved 
his  people,  and  exerted  great  influence  over  them.  But  he 
thought  himself  excusable  for  neglecting  the  music.  The  idea 
that  he  might  easily  have  acquired  both  skill  and  taste  in  the 
art,  never  occurred  to  him  ;  nor  did  he  imagine  it  possible  for 
him  to  cultivate  those  musical  sympathies  which  have  such  a 
kindly  influence  upon  the  members  and  the  performances  of  a 
choir.  ';  Since  nature  has  never  made  me  a  singer,"  said  he, 
"  I  do  not  see  that  I  have  anything  more  to  do  with  music,  than 
a  deaf  man  has  with  oratory,  or  a  blind  man  with  painting." 
As  no  one  disputed  his  premises,  his  conclusions  were  regarded 
as  legitimate.  He  was  a  sincere  man.  He  abhorred  every 
species  of  affectation.  He  could  not  pretend  to  sensibility 
when  his  feelings  were  not  enlisted,  and  he  thought  himself,  as 
many  others  have  done,  fully  justified  in  leaving  church  music 
to  the  management  of  such  persons  as  were  willing  to  assume 
its  responsibilities.  Yet,  as  the  singing  was  deemed  essential 
to  the  interests  of  public  worship,  he  would  sometimes  give  the 
singers  an  encouraging  word. 


198  DESPISING  CULTIVATION. 

The  greatest  genius  for  music  in  the  village  at  that  early  pe- 
riod, was  a  very  poor,  uneducated,  English  cobbler.  He  was 
a  "  natural  singer."  He  was  usually  whistling  over  his  work, 
and  when  retiring  from  it,  would  be  humming  a  tune  to  the 
rhythm  of  his  footsteps.  His  piety  was  of  a  happy  mould,  and 
the  hymn  of  praise  would  not  be  forgotten  in  his  morning  and 
evening  devotions.  This  man,  miserably  as  he  would  "  murder 
the  King's  English,"  was  the  only  person  capable  of  sustaining 
the  office  of  chorister.  He  could  "  give  the  pitch"  correctly, 
and  "  beat  out  the  time,"  with  abundant  gesticulations.  He 
had  no  knowledge  of  style,  and  no  variety  in  manner.  His 
habits  and  notions  were  all  stereotyped.  A  teacher  could  nei- 
ther alter  him,  nor  give  him  a  new  idea,  Yet,  he  was  kind- 
hearted  and  faithful,  always  punctual,  and  ready  to  exert  him- 
self to  his  utmost  ability. 

The  members  of  the  choir,  in  regard  to  musical  attainments, 
were  every  way  worthy  of  their  leader.  They  sung  with  all 
sorts  of  voices,  great  and  small,  hard,  guttural,  rough,  slender, 
or  nasal, — just  such  as  they  supposed  had  been  given  to  them 
by  the  hand  of  nature.  They  had  no  idea  of  improving  them 
by  practice  or  instruction.  There  was  no  sweetness  in  their 
harmony.  They  often  sung  out  of  pitch,  and  out  of  time. 
Their  vocal  utterances  were  vulgar  and  indistinct.  Accent, 
emphasis,  and  expression,  were  things  unknown ;  and  the  entire 
movement  was  uniformly  heavy,  and  destitute  of  animation. 
This  was  a  thing  of  course,  for  if  better  singers  had  been  at 
hand,  they  would  not  have  "  followed  in  the  wake"  of  such  a 
leader.  Several  efforts  were  made  to  improve  the  singing,  but  all 
to  no  purpose.  The  pupils  were  intractable,  and  the  chorister, 
after  all  that  could  be  done,  would  put  his  own  heavy  stamp 
upon  the  performances.  The  singing  was  ridiculous.  It  was  a 
"  laughing-stock"  in  the  surrounding  villages.     Even  the  par- 


DESPISING   CULTIVATION.  199 

ishioners  grew  displeased  with  it.  But  instruction,  and  ridicule, 
and  complaint,  were  equally  useless.  Whatever  modifications 
were  attempted  in  the  style,  the  good  cobbler's  influence  would 
dissipate  all  signs  of  improvement.  Year  after  year,  this  same 
result  was  patiently  borne.  The  leader  did  his  best.  He  was 
a  good  man,  and  no  one  else  was  deemed  capable  of  setting  the 
psalm.  Disgust  at  all  musical  pretensions,  was  the  natural 
consequence  of  such  a  state  of  things ;  and  we  need  not  wonder 
that  for  some  twenty  years,  no  improvement  was  witnessed  in 
the  village. 

Soon  after  this  period,  the  lawyer  was  called  away  by  some 
official  appointment,  to  one  of  the  inland  cities,  and  a  new  phy- 
sician came  into  the  place,  who  was  fond  of  good  music.  The 
population  had  greatly  increased  in  numbers.  There  was  now 
some  appearance  of  musical  talent  in  the  place.  But  there  was 
still  the  good,  noble-hearted  leader  in  the  way.  Nobody  could 
sing  with  him,  or  alter  him,  and  he  had  served  his  generation 
too  faithfully  to  receive  an  unceremonious  dismissal.  The  con- 
gregation owed  him  a  debt  of  gratitude,  and  they  must  continue 
to  bear  with  him.  He  grew  old  and  infirm.  But  he  loved  to 
lead  the  singing,  and  the  people  would  never  subject  him  to  the 
mortification  of  being  superseded.  So  from  mere  considera- 
tions of  kindness  to  the  true-hearted,  though  illiterate  brother, 
the  public  praises  of  God  must  continue  to  be  a  subject  of  de- 
rision. 

The  chorister  was  not  responsible  for  this  protracted  disgrace. 
He  did  Ins  utmost,  and  was  doubtless  accepted  by  the  Master 
of  Assemblies.  The  people  should  have  better  understood 
their  duty.  But,  till  he  had  tuned  his  last  notes  in  the  earthly 
sanctuary,  they  never  awoke  from  the  lethargy  which  had  been 
brought  upon  them  by  the  first  three  educated  families,  who 
were  despisers  of  musical  cultivation. 


XXXIII. 

A  THEATRICAL  SOPRANO  SIXGER. 

"  Doing  evil,  that  good  may  come." 

"  Our  minister  does  not  seem  to  fill  the  house,"  said  one  of 
the  trustees  to  another,  as  they  were  returning  from  an  evening 
service.  It  was  at  the  Monumental  Church,  in  one  of  our  prin- 
cipal cities,  at  a  time  when  there  was  much  competition  about 
splendid  edifices  for  public  worship.  "  Our  minister  does  not 
seem  to  fill  the  house.     What  shall  we  do  ?" 

"  He  is  not  so  popular,"  said  the  other,  "  as  we  anticipated." 

"  He  seems  to  have  talent :  but  somehow  he  does  not  take 
with  city  people." 

"  I  wonder  if  he  could  not  get  up  a  series  of  discourses  on 
some  taking  subject  1     The  man  has  genius,  you  know." 

"  He  tried  that  device  while  you  were  off  on  a  western  tour. 
He  preached  two  sermons  on  the  longevity  of  Methusaleh, 
three  on  the  aborigines  of  Palestine,  two  on  the  '  wise  men  of 
the  east,'  and  four  on  the  '  demoniacs  of  gospel  days.'  But 
nothing  would  answer.  People  ran  in  just  to  see  what  the  man 
could  be  at,  but  curiosity  was  soon  satisfied." 

"  Perhaps  he  could  be  induced  to  improve  his  manner  of  de- 
livery.    People  are  fond  of  oratory." 

"  I  wish  he  might ;  but  he  despises  such  attractions." 

"  That  is  unfortunate." 


A  THEATRICAL   SOPRANO   SINGER.  201 

"  At  this  rate  we  shall  never  sell  our  pews." 

"  That  would  be  ruinous." 

"  The  church,  you  know,  would  have  to  be  sold  under  the 
hammer,  and  then  our  other  property  near  by  would  depreciate 
in  value." 

'•  That  must  never  be.  But  we  are  in  a  bad  fix.  We  have 
fairly  settled  the  man,  and  must  make  the  best  of  him." 

uHe  has  rather  settled  us,  I  think.  We  cannot  decently 
move,  in  the  matter  of  another  pastor,  short  of  a  year,  and  that 
wTill  be  too  late." 

"  Something  must  be  done." 

"What  shall  it  be?" 

"  My  opinion  is,  that,  if  one  end  of  the  church  has  not  suffi- 
cient attraction,  we  must  make  up  the  balance  at  the  other 
end." 

"  Good !     That  is  a  bright  thought." 

"  Let  us  have  a  splendid  organ,  and  have  it  played  in  a  mas- 
terly manner." 

"  That  can  easily  be  done." 

"  Then  let  us  employ  Mr.  Blackboardman  to  train  for  us  a 
first-rate  volunteer  choir." 

"  Well,  I  suppose  a  pretty  liberal  outlay  in  such  expenditures, 
will  be  good  economy  in  the  end." 

"  Undoubtedly." 

"  But  we  must  not  fail.     This  seems  to  be  the  only  hope," 

The  two  men  had  incurred  such  personal  liabilities  in  the 
erection  of  the  church  edifice,  that  no  one  ventured  to  interfere 
with  their  plans.  The  measure  was  adopted.  The  organ  was 
spoken  for,  and  the  player  engaged.  A  school  was  opened. 
Mr.  Blackboardman  commenced  his  labor ;  but  there  was  not 
time  for  finishing  it.  The  interests  involved  required  dispatch. 
The  half-tutored  volunteers  must  be  put  to  the  service,  and 

9* 


202  A  THEATRICAL   SOPRANO   SINGER. 

afterward  be  more  perfectly  instructed.  Mr.  B remon- 
strated, but  to  no  purpose.  Delay  was  out  of  the  question. 
Several  splendid  edifices  would  soon  be  opened  in  the  vicinity, 
and  now  was  the  only  time  to  make  an  impression.  Another 
month's  delay  might  be  ruinous.  The  singers  took  their  places. 
As  the  choir  were  numerous  and  the  organ  was  loud,  individual 
imperfections  were  hidden  in  the  depths  of  the  harmony.  The 
performances,  for  a  sabbath  or  two,  were  rather  imposing. 
They  were  better  than  could  have  been  reasonably  anticipated. 
But  they  did  not  create  a  strong  sensation.  "  This,"  said  one 
of  the  two  trustees,  "will  never  do.  The  south  end  of  the 
church  must  have  more  attraction." 

"  That  is  pretty  obvious,"  said  the  other. 

"  How  shall  this  be  secured  ?" 

"  I  can  think  of  but  one  way,  and  that  is  rather  expensive." 

"  What  is  it  ?  We  must  not  stick  at  expense  in  such  a  di- 
lemma.    We  are  well  in  for  it,  and  must  either  sink  or  swim." 

"  City  people,  you  know,  are  fond  of  solo  singing.  They  are 
not  so  partial  to  choirs." 

"  True.     We  see  that  in  concerts  and  oratorios." 

"  I  heard  at  the  theatre  in  New  Orleans,  last  week,  a  Miss 
Nightingale,  who  had  just  made  her  debut.  She  is  not  known 
in  this  city.  Her  voice  is  loud  and  commanding,  and  at  the 
same  time  polished  and  effective." 

"  But  what  would  you  do  with  the  choir  f 

"  Let  them  remain.  Miss  N would  sing  only  an  occa- 
sional stanza  alone ;  which,  you  know,  would  appear  all  the  bet- 
ter in  contrast  with  the  choir." 

"  But  what  would  the  choir  say  to  such  a  measure  ?" 

"  We  will  not  consult  them." 

"True;  we  are  obliged  to  act,  and  may  as  well  be  inde- 
pendent." 


A  THEATRICAL  SOPRANO   SINGER,  203 

"  I  think  I  can  satisfy  them." 

"  Well,  I'll  go  for  the  measure.  But  we  must  keep  dark  and 
act  wisely." 

"  Never  fear  me  for  that.  I  will  write  to  the  young  lady  by 
the  next  mail.  I  will  keep  her  for  a  few  weeks  in  my  own 
family,  and  introduce  her  as  a  personal  friend ;  and  the  subject 
of  a  salary  need  never  be  mentioned." 

"  That,  I  think,  will  do.  But  we  need  not  wait  for  the  slow 
operation  of  the  mails." 

"  True.     I  will  take  a  shorter  course." 

A  telegraphic  dispatch  to  New  Orleans  secured  in  an  hour's 
time  an  engagement  with  Miss  Nightingale  for  one  year ;  and 
by  the  next  sabbath  she  was  on  hand  to  take  her  seat  in  the 
choir.  The  singers,  in  their  simplicity,  supposed  that  the  indi- 
vidual so  respectably  introduced  must  be  a  lady  of  some  con- 
sideration. The  teacher  thought  there  was  something  rather 
singular  in  the  matter,  but  very  prudently  kept  his  thoughts  to 
himself.  The  trustee  who  had  introduced  the  stranger  was 
present  to  assist  in  the  direction,  and  he  managed  adroitly.  The 
new  singer  soon  created  a  strong  sensation.  She  had  a  charm- 
ing countenance,  and  a  commanding  voice ;  and  though  her  man- 
ner seemed  unpretending,  he  gave  her  now  and  then  a  fine  op- 
portunity for  personal' display.  The  people  of  the  city  flocked 
to  the  church.  The  seats  were  filled  with  wealth  and  fashion. 
The  pews  were  soon  sold,  and  pecuniary  liabilities  were  dis- 
charged. 

Up  to  this  period  no  difficulties  had  occurred  in  the  choir. 
But,  now  that  the  object  for  which  it  had  been  formed  was  ac- 
complished, the  two  trustees  grew  remiss.    Miss  N ,  through 

the  watchful  guidance  of  her  employer,  had  behaved  discreetly. 
Now  he  must  take  another  western  tour ;  and  she,  after  resid- 
ing three  months  in  his  family,  must  spend  the  rest  of  her  year 


204  A  THEATKICAL  SOPRANO  SINGER. 

at  a  respectable  boarding  house.  There  she  has  no  suitable  ad 
visers.  The  "  free  and  easy"  ones  of  the  profession  are  mak- 
ing up  to  her.  She  goes  with  them  to  places  of  amusement, 
and  assists  them  in  giving  secular  concerts.  Her  delicacy  of  de- 
portment is  laid  aside.  She  appears  fond  of  display — is  not  to 
be  directed  or  controlled.  Her  deportment  in  church  is  light 
and  trifling.  She  pays  no  heed  to  the  subject  of  song  or  the 
solemnities  of  the  place.  What  is  it  to  her  if  the  singers  are 
displeased.  She  has  found  friends  who  are  more  congenial. 
The  choir  are  mortified  and  grieved,  but  there  is  no  use  in  com- 
plaining to  the  people.     "  Miss  N had  a  fair  introduction," 

they  say,  "  and  is  doubtless  a  young  lady  of  real  worth.  The 
choir  are  envious  on  account  of  her  great  popularity."  The 
people  drink  in  the  sweet  melody  which  flows  from  her  lips, 
and  bless  themselves  with  the  possession  of  such  a  charming 
singer.  "  There  is  not  her  equal  in  all  the  city."  But  at  length 
her  imprudences  increase.  She  behaves  ridiculously  in  sight  of 
the  assembly.  She  exchanges  glances,  and  smiles,  and  "  nods 
and  becks,"  with  individuals  who  are  wild,  and  reckless,  and 
ungodly.  The  singers  have  lost  all  respect  for  her,  and  some 
of  the  people  below  are  beginning  to  complain.  She  hears  of 
it.  "  No  matter.  Let  them  talk.  She  will  give  them  a  sub- 
ject." Before  the  next  sabbath  she  is  at  the  theatre  as  an  ac- 
tress, receiving  the  "  most  unbounded  applause."  The  choir 
are  indignant,  and  many  of  the  parishioners  are  scandalized  at 
her  degradation.  "  What  would  her  employer  think,  if  he  were 
present  ?  How  could  he  have  been  so  imposed  upon  1"  Just 
this  result,  however,  he  had  anticipated.  Before  his  return  to 
the  city,  a  young  lady  of  less  talent  but  of  better  principles,  is 
employed  to  succeed  her,  and  the  affair  is  forgotten. 

The  employment  of  a  theatrical  singer  at  the  Monumental 
Church  was  not  a  new  device  in  that  city.     Many  examples  had 


A  THEATRICAL   SOPRANO   SINGER.  205 

occurred  where  this  thing  was  done  openly,  and  where  the  ar- 
rangement excited  little  observation.  But  additional  light  had 
of  late  been  thrown  upon  the  subject  of  church  music,  and  such 
a  measure  now  required  secresy.  It  was  known  only  to  the 
contracting  parties.  When  the  scandal  took  place,  no  one  of 
the  people  cared  to  make  searching  inquiries.  The  dilemma  had 
been  a  pecuniary  one,  and  they  had  escaped  from  it.  The  mat- 
ter had  been  in  the  hands  of  business  men  who  were  not  pro- 
fessors of  religion — and  the  church  and  the  pastor  had  not  been 
consulted  in  the  affair. 

A  year  or  two  elapsed,  and  the  diminution  of  novelty  was 
lessening  the  attraction  of  the  south-end.  The  attendance  at 
church  became  less  constant  and  regular.  This  would  never 
answer.  Property  in  that  vicinity  must  not  suffer  by  any  decay 
of  popularity  in  the  Monumental.  There  is  a  vacancy  in  a 
thriving  village  not  many  miles  from  the  city.  It  is  whispered 
to  some  of  the  ambitious  ones  in  that  place,  that  probably,  if  a 
call  were  given  to  the  city  pastor  his  partiality  for  a  country 
residence  might  lead  him  to  accept  it.  'Tis  done.  And  soon 
the  Monumental  is  supplied  with  a  distinguished  pulpit  orator. 
The  south-end  lessens  in  importance.  It  may  help  itself.  Mu- 
sical taste  and  skill  decline.  The  singing  is  often  miserable. 
Difficulties  arise  among  the  singers.  No  matter.  The  preacher 
now  sustains  the  interest  of  the  exercises.  The  house  is 
crowded.  Pecuniary  considerations  are  at  rest.  The  trustees 
are  satisfied.  The  pastor  has  no  taste  for  music ;  and  while 
his  popularity  lasts,  the  singing  will  be  neglected.  This  is  a 
matter  of  course.  For  where  an  edifice  is  built,  a  congregation 
gathered  and  a  minister  selected  on  the  basis  of  pecuniary  thrift, 
what  should  prevent  the  office  of  praise  from  abuse  and  dese- 
cration 1 


XXXIV  &  XXXV. 
RIVALRY   BETWEEN  TWO  CHOIRS. 

"  Shine  without  desiring  to  be  seen."— Cowper. 

A  large  town  on  the  northern  border  of  one  of  the  Western 
States,  furnishes  the  history  of  two  choirs  affording  several  in- 
structive incidents.  The  two  churches  to  which  they  belonged 
were  of  the  same  denomination,  the  one  having  colonized  from 
the  other.  The  separation  was  occasioned  by  no  disaffection 
or  disunion  of  interest,  but  for  the  commendable  purpose  of 
accommodating  the  augmenting  population  of  the  place.  How- 
ever, when  the  separation  had  actually  taken  place,  the  inde- 
pendent branch  became  desirous  of  a  rapid  growth,  without 
sufficient  regard  to  the  welfare  of  the  parent  church.  This 
gave  displeasure,  and  awakened  feelings  of  mutual  jealousy  and 
suspicion.  The  two  societies  blamed  each  other,  and  not  en- 
tirely without  reason.  The  one  was  ambitious  and  imprudent, 
the  other  was  selfish  and  timid.  Yet,  there  was  no  open  cen- 
sure. There  were  no  real  feelings  of  hostility  ;  but  there  was 
just  that  amount  of  mutual  jealousy  which  served  to  produce 
coldness,  and  give  rise  to  occasional  feelings  of  rivalry  and  dis- 
trust. Each  society  became  ambitious  of  having  the  best 
11  meeting-house,"  the  best  congregation,  the  best  preaching,  and 
the  best  music.  This  was  as  great  a  hinderance  to  the  progress 
of  good  taste  as  to  the  increase  of  spirituality. 


RIVALRY   BETWEEN   TWO   CHOIRS.  207 

Each  of  the  two  choirs  had  a  pious  leader,  who  was  fully 
competent  to  give  direction  to  the  music ;  and  each  embraced 
within  its  members  an  unusual  amount  of  piety,  and  talent,  and 
social  influence.  Both  had  been  instructed  by  the  same  teach- 
er, and  been  fully  apprized  of  the  solemn  responsibilities  which 
rested  upon  them.  Of  these  they  were  not  unmindful.  They 
often  felt  them  as  a  heavy  burden,  and  sought  for  aid  from  the 
only  true  Source.  They  had  no  idea  of  being  formalists.  But 
mental  habits  are  often  stronger  than  good  resolutions.  The 
mean  yet  almost  unconscious  spirit  of  rivalry  had  been  cherish- 
ed too  long  to  be  readily  overcome.  Each  choir  had  an  inde- 
pendent character  to  sustain.  It  could  not  bear  to  be  outdone 
by  the  other.  In  its  numbers  and  its  influence,  in  its  selections 
and  performances  of  music,  and  in  its  effectiveness  in  taste  and 
feeling,  each  desired  to  stand  first.  This,  since  advantages 
were  about  equal,  required  effort,  and  care,  and  anxiety,  and 
watchfulness.  This  feeling  of  rivalry  produced  some  good  re- 
sults, such  as  increase  of  diligence,  and  punctuality,  and  enter- 
prise, and  practical  skill ;  yet  it  was  anything  but  favorable  to 
refinement  in  taste  or  growth  in  piety.  In  proportion  as  skill 
was  increasing,  therefore,  the  real  pathos,  and  devotional  influ- 
ences of  the  performances  were  found  to  diminish. 

A  similar  result  has  often  been  produced  by  improper  selec- 
tions of  music  ;  but  in  the  present  instance  the  selections  were 
judicious.  They  were  quite  well  adapted  to  the  condition  and 
the  wants  of  the  worshippers.  Still,  in  both  churches  there 
was  a  feeling  of  barrenness  and  disquietude  among  the  sing- 
ers which  was  beginning  to  pervade  the  congregations.  What 
could  be  the  cause  ?  Could  it  be  the  increase  of  musical 
skill  ?  "  If  so,"  said  the  people,  u  we  must  begin  to  limit  our 
acquirements  by  some  intelligible  criterion  of  utility."  In  both 
congregations  there  was  much  speculation  on  the  subject,  which 


208  RIVALRY   BETWEEN   TWO   CHOIRS. 

was  not  remarkable  for  wisdom  or  discernment.  The  interests 
of  psalmody  were  at  this  time  greatly  endangered.  A  little 
matter  might  have  produced  discouragement.  The  singers 
themselves  were  entirely  in  the  dark.  They  had  too  little 
knowledge  of  their  own  habitual  feelings,  to  admit  of  their  de- 
tecting the  real  cause  of  the  difficulty. 

But  the  trouble  was  not  confined  to  the  music.  It  pervaded 
everything.  The  preaching,  the  prayer-meeting,  the  Sunday- 
school, — all  the  forms  of  active  benevolence  manifested  an  in- 
creasing want  of  unction.  At  length  the  real  cause  of  barren- 
ness was  suspected.  The  brethren  of  the  two  churches  did  not 
sufficiently  love  each  other,  nor  seek  for  mutual  prosperity  as 
branches  of  the  same  heavenly  vine.  The  churches  came  to- 
gether for  the  purpose  of  mutual  confession  and  heart-felt  sym- 
pathy. The  Master  smiled  graciously  upon  them,  and  religious 
influences  began  to  revive.  Monthly  union-meetings  held  alter- 
nately at  the  two  places  of  worship,  were  attended  with  a  most 
happy  influence.  In  the  warmth  of  Christian  affection,  jealousy 
disappeared,  as  the  mists  of  the  morning  are  dissipated  by  the 
rays  of  the  rising  sun. 

The  choir  profited  by  the  discovery,  established  union  rehear- 
sals of  a  similar  character,  and  exchanged  all  their  jealousy  and 
suspicion  for  good-will  and  mutual  confidence.  No  longer  em- 
ulous of  artistic  superiority,  their  minds  would  now  be  fixed 
devoutly  upon  the  subject  matter  of  their  songs ;  and  they 
could  look  upward  with  humble  yet  cheerful  confidence  for  the 
Divine  blessing.  They  did  not  look  in  vain.  The  blessing  ex- 
ceeded their  largest  expectations.  The  change  was  as  surpris- 
ing as  it  was  delightful.  They  could  then  understand  how  great- 
ly they  had  sinned  in  the  indulgence  of  unchristian  feelings ;  and 
thereafter  they  heartily  united  in  the  same  purpose  of  elevat- 
ing in  spirit  as  well  as  in  manner  the  high  praises  of  the  sanctuary. 


XXXVI. 

A  DEACON  AFRAID  OF  THE  EXHIBITION  OF  TRUTH. 

"Negative  virtue  is  positive  vice,  if  the  means  exist  of  improving  it.*'— Zimmerman. 

"  Why  is  it,"  said  a  youthful  pastor  to  one  of  his  efficient  dea- 
cons—" why  is  it,  that  in  all  our  efforts  towards  promoting  the 
praises  of  God,  we  are  so  sparing  of  time,  and  labor,  and  ex- 
pense V 

"  We  do  not  expect  so  much  benefit  from  the  singing,  as  from 
other  things." 

"Why  not?" 

"  We  learn  from  experience." 

"  In  what  way,  I  should  like  to  know." 

"  Why,  the  singing  is  always  conducted  by  the  young  peo- 
ple, who  are  seldom  what  they  ought  to  be.  They  get  them- 
selves into  difficulty  and  trouble.  They  seem  to  care  for  no- 
thing beyond  their  own  gratification." 

"  This  cannot  be  right.  The  friends  of  God  should  become 
personally  active  in  celebrating  his  praise." 

"  It  would  seem  so ;  but  the  members  of  the  church  have  very 
little  talent  for  music ;  especially  for  psalmody." 

"  Nor  much  concern  about  it." 

"  We  have  not  much  taste." 

"Nor  much  sense  of  duty  or  idea  of  privilege  in  this  matter, 
I  fear." 


210  A  DEACON  AFRAID   OP 

"  Exactly  so." 

"  Could  none  of  you  sing  in  earlier  days  V 

"Yes,  many  of  us  were  good  singers  before  we  left  the  choir 
and  the  rehearsals.  But  our  voices  have,  since  that  time,  en- 
tirely failed.  Only  think  what  singing  we  have  at  evening  lec- 
tures and  communions.     We  can  hardly  endure  our  own  voices." 

"  Do  the  people  sing  in  family  worship  V 

"  I  think  not.  There  does  not  seem  to  be  a  musical  family 
among  us." 

"  That  is  strange !" 

"  Some  eight  or  ten  years  ago,  I  used  myself  to  be  called  a 
tolerable  singer ;  but  now  my  voice  is  rough,  you  know,  and 
I  easily  get  out  of  breath,  and  lose  the  pitch  and  the  time.  I 
used  to  sing  three  hours  together,  without  weariness ;  but  now, 
a  single  hymn  will  use  me  up  completely." 

"  Are  your  lungs  weak,  deacon  ?" 

"They  seem  to  be  so,  for  singing." 

"  Perhaps  you  had  better  apply  for  medical  aid.  Lung  com- 
plaints, you  know,  require  attention." 

"  Me !  why,  I  am  hearty  as  a  buck ;  never  was  better." 

"  And  how  is  the  case  with  others  who  have  lost  their  voices  1 
Are  their  constitutions  broken  down  V 

"  O,  no.     Nothing  of  that.     Only  their  voices  have  failed." 

"  Do  their  children  sing  V 

"  Some  of  them  a  very  little  at  the  sabbath  school." 

"  I  think  I  have  sometimes  heard  sweet  voices  in  the  parlor, 
when  I  have  been  passing  their  dwellings." 

"  O,  yes ;  some  of  the  young  ladies  can  sing  fashionable  songs 
and  love  ditties ;  but  they  neglect  psalmody.  Their  lips  on  the 
sabbath  are  perfectly  sealed." 

"  Deacon,  did  you  lose  your  voice  all  at  once,  or  gradually  ?" 

"Gradually,  I  think." 


THE   EXHIBITION    OF   TRUTH.  211 

"  Did  it  begin  to  fail  before  you  stopped  practice  ?M 

;i  When  I  settled  in  life,  I  became  too  busy  to  attend  rehear- 
sals. So  I  left  the  choir.  Ever  since  that  time  my  voice  has 
been  failing." 

"  And  suppose  you  were  suddenly  to  give  up  labor ;  how  long 
before  your  strength  would  begin  to  fail,  and  your  hand  to  lose 
its  skill  in  the  more  delicate  operations  in  cabinet-making  f 

M  Not  very  long,  I  reckon.  But  what  has  that  to  do  with  the 
subject  ?" 

"  Very  much,  I  assure  you.  People  lose  their  voices  by 
neglecting  to  use  them,  and  are  therefore  accountable  for  the 
loss.  But  this  is  not  all.  They  can  generally  regain  them  by 
a  reasonable  amount  of  practice,  and  consequently  are  bound  in 
duty  to  make  the  effort." 

"  That  is  quite  a  new  idea.     Are  you  sure  it  is  correct  ]" 

"  So  we  were  instructed  at  the  seminary.  The  idea  was  new 
to  us,  but  we  soon  found  it  true  in  practice." 

"  Is  it  possible  f1 

"  It  is  even  so.  You  yourself  have  described  the  usual  symp- 
toms of  decay,  almost  in  the  very  words  of  the  professor.  He 
told  us  that  from  the  moment  we  neglected  practice,  our  voices 
would  begin  to  fail ;  but  said  that  they  would  continue  to  serve 
us  till  late  in  life  if  we  continued  to  cherish  them.  They  would 
hold  on  as  long  as  the  physical  constitution  should  remain  un- 
impaired.    Song,  he  said,  was  like  speech,  in  this  respect." 

"It  may  be  so  with  some  people." 

"  It  was  given  as  a  general  principle." 

"  So  you  think  there  is  no  need  of  such  poor  singing.  Do 
you  imagine  the  brethren  will  believe  that  theory  ?" 

"Certainly,  since  it  is  true.     Why  not?" 

';  It  is  so  different  from  what  we  have  always  supposed." 


212  A  DEACON  AFRAID  OF 

"  Your  very  history  proves  the  first  part  of  it  true ;  the  re- 
mainder is  easily  tried." 

"  You  will  find  it  difficult  to  persuade  us  to  try,  I  reckon." 
"  I  have  something  to  say  on  that  subject.     If  I  can  show  you 
and  others,  that  there  is  a  duty  to  be  performed,  I  shall  expect 
the  effort  to  be  made." 

"  You  will  find  some  lions  in  the  way,  I  think." 
"  The  lions  are  all  chained  that  meet  us  in  the  path  of  duty. 
Just  look  at  the  subject.  A  church  lose  their  voices  by  neglect- 
ing to  use  them  in  the  praises  of  God.  By  practice,  they  might 
easily  regain  them ;  instead  of  which  they  plead  the  loss,  in  ex- 
tenuation of  perpetual  neglect ;  and  give  over  the  heaven-ap- 
pointed office  of  praise  into  the  hands  of  unconverted,  giddy 
youth.  Having  thus  degraded  the  office,  they  derive  little 
benefit  from  it,  and  then  plead  the  barrenness  of  results  as  a 
reason  why  praise  itself  should  be  undervalued.  And  worse 
still.  Many  individuals  who  have  acquired  talent  for  secular 
music,  and  who,  we  trust,  are  Christians,  still  refuse  to  open 
their  lips  in  the  praises  of  God !" 

"  Why,  sir,  you  are  making  a  strong  case  of  the  matter." 
"  It  is  even  stronger  than  I  have  made  it.  Remember  it  is 
an  unspeakable  privilege  for  such  creatures  as  we  are,  to  be  al- 
lowed to  unite  in  exercises  of  praise.  There  are  but  two  meth- 
ods of  addressing  the  mercy-seat,  in  this  benighted  world  of 
ours.  Shall  we  use  the  one  and  decline  the  other  ?  Shall  we 
be  like  apostate  beggars,  who  plead  for  favors,  but  refuse  to 
give  thanks  ?  Shall  we  even  neglect  the  outward  ceremony  of 
praise  ?     Hypocrisy  herself  would  be  ashamed  of  that !" 

"  Why,  really,  you  seem  to  be  hard  upon  us.     We  have  no' 
such  ideas  of  responsibility." 

"  True — very  true.     This  seems  the  only  alleviating  circum- 


THE  EXHIBITION  OF  TKUTH.  213 

stance.  But  it  is  time  for  the  '  sin  of  ignorance'  to  be  done 
away.     The  people  must  be  instructed." 

"  You  will  not  think  of  preaching  upon  the  subject  V 

*  Why  not  F 

"  You  will  displease  the  singers,  disoblige  the  people,  get 
yourself  into  trouble,  and — " 

"  Have  I  displeased  you  f 

"  Not  at  all.     I  have  been  much  interested.*' 

"  Yet  you  would  have  others  left  in  ignorance,  who  have  as 
good  a  right  to  the  truth  as  yourself,  and  who,  perhaps,  would 
receive  it  with  equal  pleasure." 

';  Perhaps  not  with  equal  advantage.  Many  a  difficulty  has 
arisen  from  meddling  with  such  matters,  you  know." 

"  Difficulties  will  continue  to  arise,  till  the  church  awake  to 
duty." 

"  I  fear  you  will  be  sorry  if  you  meddle  with  so  sore  a  subject." 

"  That  sore  must  be  probed,  if  it  is  ever  to  be  healed." 

"  I  reckon  you  will  be  apt  to  find  some  proud  flesh  in  it." 

"  Deacon,  I  am  going  to  preach  on  that  subject.  Do  you 
think  me  afraid  ?  You  ought  to  understand  me  better.  I  am 
bound  to  declare  the  whole  counsel  of  God.  If  the  people  re- 
fuse to  hear,  the  fault  will  be  theirs.     I  must  be  faithful." 

';  Prudence  is  a  duty,  as  well  as  boldness." 

"  But,  it  is  not  the  part  of  prudence  to  leave  the  people  in 
ignorance  of  so  essential  a  subject,  especially  as  that  ignorance 
is  connected  with  sin.  Prudence,  in  such  a  case,  has  respect 
chiefly  to  the  time,  the  manner,  and  the  spirit  of  the  instruction." 

"  Well,  if  you  must  preach  upon  that  subject,  I  hope  you  will 
rightly  divide  the  word,  and  give  to  each  a  portion  in  due  sea- 
son." 

"  Certainly,  I  shall  endeavor  to  do  so.  You  can  imagine  how 
I  shall  divide  the  word,  by  what  has  been  said  to  you.    The 


214         A  DEACON  AFRAID  OF  TRUTH. 

proper  season  is  the  first  pleasant  Sabbath,  and  I  hope  you  will 
be  on  hand,  among  others,  to  receive  your  portion." 

At  this  point  the  conversation  terminated.  The  deacon  went 
home  full  of  anxiety.  He  had  many  forebodings.  On  the 
next  Sabbath,  the  pastor  fulfilled  his  engagement  to  the  letter. 
He  came  into  the  pulpit  for  once,  without  any  formal  prepara- 
tion. He  wished,  in  the  plainest  possible  manner,  to  bring  be- 
fore his  people  a  subject  which  was  very  important  and  very 
delicate.  He  had  not  forgotten  to  ask  counsel  of  Heaven  re- 
specting it,  and  he  now  solicited  in  behalf  of  it,  the  candid, 
prayerful  attention  of  his  hearers.  His  whole  manner  was 
mild  and  affectionate.  His  ideas  were  happily  arranged.  His 
statements  were  lucid  and  biblical,  his  arguments  irresistible, 
and  his  inferences  conclusive.  His  people  were  greatly  sur- 
prised and  interested.  The  deacon  was  wonderfully  relieved, 
and  when  the  last  hymn  had  been  given  out,  he  slipped  into 
the  desk  to  suggest  the  appointment  of  a  church  meeting  on 
the  subject,  without  further  delay.  The  appointment  was  made 
accordingly,  and  on  the  given  evening  there  was  a  full  attend- 
ance. The  long-neglected  practice  of  psalmody  was  then  re- 
sumed. The  pastor,  himself  an  excellent  singer,  directed  the 
exercises.  The  meetings  were  continued  from  week  to  week, 
and  soon  an  entire  change  became  visible.  The  people  began 
to  sing  at  family  worship,  and  at  church.  Many  of  the  mem- 
bers became  fine  performers,  and  united  with  the  choir.  The 
latter,  pervaded  by  new  influences,  became  more  effective  and 
stable.  No  difficulty  had  been  encountered.  Not  a  lion  had 
been  seen.  As  all  parties  had  been  wrong,  every  one  could 
take  his  own  "  portion"  of  the  admonition,  without  any  accusa- 
tion of  personalities.  Thenceforward,  while  the  office  of  praise 
was  conducted  on  right  principles,  such  blessed  results  were 
witnessed,  as  no  longer  to  allow  of  its  being  lightly  esteemed, 
or  neglected. 


XXXVII. 

TACT  AT  CONCEALING  BLUNDERS. 

"Have  the  courage  to  face  a  difficulty  lest  it  kick  harder  than  you  bargain  for."— Anoh. 

"  When  you  have  made  a  blunder,  always  put  a  good  face 
upon  it,"  said  a  distinguished  chorister,  "  ten  chances  to  one, 
the  listeners  will  never  detect  it."  There  was  good  sense  in  this 
direction,  for  the  audience  have  not  generally  before  them  the 
means  of  detection.  At  that  time  it  was  the  ambition  of  many 
leaders  to  exhibit  their  own  accuteness  by  publicly  exposing 
errors  in  the  performances,  even  in  time  of  worship.  Not  so 
the  chorister  before  us.  He  had  many  mistakes  of  his  own  to 
be  hidden  ;  and,  happily,  he  had  a  choir  to  lead  wrho  well  knew 
how  to  follow  him.  They  knew  their  own  mistakes  would 
never  be  publicly  exposed,  and  they  were  always  watchful  to 
prevent  a  discovery  of  his. 

One  day  while  singing  a  hymn  of  ten  stanzas,  he  forgot 
which  among  the  number  were  to  be  omitted.  So  to  put  a 
good  face  upon  the  matter,  he  omitted  five  in  succession,  articu- 
lating the  first  word  after  the  skip  so  distinctly  as  to  enable  the 
singers  to  follow  him.  The  choir  all  skipping  alike,  lead  each 
one  of  the  congregation  to  fancy  himself  mistaken,  and  the  pas- 
tor to  imagine  that  his  directions  had  been  misunderstood. 
The  chorister  had  no  intention  to  deceive  ;  but  there  was  some- 


216  TACT  AT  CONCEALING  BLUNDERS. 

thing  to  be  done,  and  there  was  no  time  for   asking   ques- 
tions. 

Once,  while  performing  a  long  set-piece,  he  unwittingly 
turned  over  two  leaves  at  a  time,  and  commenced  the  ensu- 
ing strain  as  if  nothing  had  happened.  In  an  instant  the  choir 
followed  him  without  the  least  sign  of  embarrassment.  He 
did  not  discover  his  mistake  till  the  next  day,  when  informed  of 
it  by  the  singers.  The  piece,  by  the  omission  of  two  quarto 
pages,  had  been  reduced  to  a  reasonable  length  ;  ancL,  the  peo- 
ple, if  they  had  understood  the  omission,  would  doubtless  have 
been  pleased  with  it,  and  supposed  it  intentional. 

A  blunder  once  occurred  which  was  more  singular.  When 
the  pastor  had  read  a  "  long-metre  hymn"  of  six  stanzas,  the 
chorister  started  off  with  a  tune  in  Double  Common  Metre. 
The  former  observed  the  mistake,  appeared  evidently  embar- 
rassed, anticipating  a  "  real  break-down."  The  latter  making 
the  discovery  in  the  midst  of  the  second  line,  instantly  recol- 
lected that  the  hymn  was  overloaded  with  adjectives  which  were 
not  material  to  the  sense,  went  on  by  skipping  here  and  there 
a  word,  as  coolly  as  if  the  hymn  had  previously  undergone  a 
revision.  The  singers  followed  him.  The  pastor  grew  com- 
posed, and  soon  sung  like  the  rest.  When  the  chorister  was 
leaving  the  house  one  of  the  influential  members  of  the  congre- 
gation said  to  him:  "I  wonder  why  our  pastor  came  to  make 
such  a  mistake  to-day  ?  I  never  saw  him  more  embarrassed." 
He  doubtless  spoke  the  mind  of  the  people  around  him.  The 
chorister  loved  his  pastor  too  well  to  have  him  father  the  blun- 
der, yet  he  saw  the  advantage  of  putting  a  good  face  upon  it. 
The  people  might  otherwise  have  been  impatient  with  him. 

The  choir  had  confidence  in  their  leader.  He  was  a  man  of 
principle.  He  understood  himself,  and  always  found  some 
way  of  putting  a  good  face  upon  things.     If  he  was  liable  to 


TACT  AT  CONCEALING  BLUNDERS.  217 

mistakes,  the  cause  was  -well-known  to  them.  The  pastor 
would  seldom  give  him  sufficient  time  for  careful  preparation. 
The  list  of  hymns  was  occasionally  furnished,  but  more  fre- 
quently forgotten.  Everything  then  was  to  be  done  in  a  mo- 
ment. The  hymn,  the  metre,  the  tune,  the  pitch,  the  move- 
ment, the  expression,  the  omission  of  stanzas,  the  subject  mat- 
ter, and  the  preparation  of  the  heart — all  at  the  same  moment 
claiming  attention  !  Who,  in  such  haste,  and  amidst  such  va- 
ried responsibilities,  could  be  expected  to  act  without  occasional 
mistakes  ?  Choristers  should  always  be  seasonably  furnished 
with  the  list  of  the  hymns,  that  they  may  be  relieved  from 
every  unnecessary  embarrassment. 

10 


XXXVIII. 

"BOUGHT  OFF." 

w  Who  is  there,  even  among  you,  that  would  shut  the  doors  for  nought."— Malachi. 

Mr.  Drillman  was  a  music-teacher,  remarkable  for  his  untir- 
ing assiduity.  With  talents  above  mediocrity,  he  would  labor 
cheerfully  from  morning  till  night,  for  the  advancement  of  his 
pupils.  His  faithfulness  was  soon  rewarded  by  an  appointment 
as  teacher  and  chorister  in  Mechanic-street  church,  in  the  city 

of  T .     His  salary  was  small  for  the  services  required. 

An  adult  singing-school  was  established,  for  the  purpose  of  sus- 
taining a  choir.  His  pupils  were  numerous.  To  those  who 
could  be  useful  in  the  choir,  he  gave  much  instruction  gratui- 
tously, and  when  he  found  a  remarkable  voice,  he  spared  no 
time  or  expense  in  training  it  for  service.  By  such  means,  he 
found  himself  in  a  year  or  two,  surrounded  by  one  of  the  best 
choirs  in  the  city.  Their  performances  attracted  attention. 
Mr.  Drillman's  voice  was  not  remarkable,  but  some  of  his 
singers  might  be  useful  elsewhere.  In  many  of  the  city  con- 
gregations, there  was  more  wealth  than  industry,  and  more 
taste  than  practical  skill.  When  a  soprano  was  wanted,  Mr. 
Drillman's  best  performer  must  be  "  bought  off."  His  most 
efficient  alto,  and  tenor,  and  bass,  were  next  required  for  similar 
purposes.  At  first  he  was  gratified  with  this  demand.  It  was 
giving  him  a  character.     His  pupils  were  increasing  in  number 


"BOUGHT  OFF."  219 

and  in  diligence.  For  the  loss  of  one  soprano,  for  example, 
some  four  or  five  would  become  emulous  of  supplying  her 
place.  But  soon  these  inroads  upon  his  choir  became  more 
frequent,  and  it  began  to  seem  as  if  he  had  just  been  cultivat- 
ing a  nursery  for  city  supplies.     He  took  the  alarm,  and  kindly 

remonstrated  with  his  pupils,  but  to  no  purpose.     Misses  D , 

E ,  and  F ,  had  as  good  claim  to  a  salary,  as  Misses 

A ,  B ,  and  C ,  if  opportunities  should  offer ;  and 

Misses  J ,  K ,  and  L ,  needed   remuneration  for 

time  spent  in  practice,  as  really  as  Misses  G ,  H ,  and 

I ,  had  done.     They  all  had  this  object  in  view,  when  they 

first  entered  the  class.  They  did  not  wish  to  incommode  their 
teacher,  but  he  "  would  never  want  for  pupils,"  and  he  could 
"  make  them  all  good  singers."  Better  to  understand  his  real 
position  among  them,  he  made  private  inquiries,  till  he  ascer- 
tained that  every  singer  to  whom  he  had  given  gratuitous  in- 
struction, was  looking  forward  to  some  preferment. 

This  was  very  trying.  At  the  next  rehearsal  he  made  a  sec- 
ond appeal.  He  spread  the  whole  subject  before  them  in  de- 
tail. If  all  were  expecting  to  leave,  what  was  he  to  do  1  Many 
had  received  gratuitous  instruction  for  some  three  or  four  years. 
How  was  he  to  be  remunerated  for  such  an  amount  of  labor  1 
Was  it  right  that  he  should  be  thus  training  singers  at  a  great 
expense  and  labor,  for  the  highest  bidders  in  the  market  1  Again, 
the  pupils  had  no  desire  to  embarrass  their  teacher.  But  they 
were  not  all  "  expecting  to  leave  him  at  once."  He  had  been 
very  kind  to  them.  They  never  could  fully  repay  his  kindness. 
But  they  were  doing  what  they  could.  Certainly  their  services 
must  be  worth  something  to  him.  Things  were  worth  just 
what  they  would  bring  in  the  market,  and  if  their  services  were 
not  particularly  valuable,  they  would,  of  course,  never  command 
a  salary. 


220 

Such  selfishness  as  this  he  had  never  anticipated.  The  inter- 
ests of  the  church  were  disregarded.  The  love  of  the  employ- 
ment was  of  no  account.  The  glory  of  God  in  the  celebration 
of  his  praise,  was  a  subordinate  consideration.  "  Leading 
singers,"  they  said,  "  ought  always  to  be  paid."  There  was 
"  no  use  in  spending  one's  time  for  nothing."  But  this  last  re- 
mark was  as  applicable  to  the  teacher  as  to  themselves.  Gra- 
tuitous labor  was  increasing  upon  his  hands,  and  yet  the  choir, 
as  a  whole,  were  not  improving. 

He  next  made  a  full  representation  of  the  case  to  the  trus- 
tees, but  their  observations  had  been  made  from  a  different 
stand-point.  The  excellent  teacher,  who  had  been  so  many 
years  with  them,  had  given  great  satisfaction.  He  had  freed 
them  from  all  care  and  perplexity,  and  now,  though  it  was  "  hard 
to  be  so  drawn  upon,"  he  was  only  paying  a  tax  upon  his  own 
popularity.  The  reason  he  could  not  keep  his  pupils  in  the 
choir  was,  that  he  made  them  such  good  singers.  The  trustees 
were  sorry  that  his  labors  had  been  so  multiplied.  They  would 
be  glad  to  see  him  more  fully  remunerated,  but  the  low  state 
of  their  finances  would  not  warrant  any  increase  of  his  salary. 

"  But,"  said  the  teacher,  "  are  there  no  members  of  the  church 
who  will  qualify  themselves  to  become  leading  singers,  through 
love  for  the  employment1?"  It  was  a  hard  question.  The 
trustees  knew  not  how  to  answer  it.  Professors  of  religion 
had  often  been  among  his  pupils,  but  not  one  of  them  would  re- 
fuse a  proffered  salary.  They  had  been  willing  that  their  teach- 
er should  labor  unrewarded,  for  their  special  benefit ;  but  in 
their  own  case,  they  had  spent  much  time  in  musical  practice, 
and  "  must  have  a  proper  remuneration."  At  length  his  choir 
was  beginning  to  decline.  Within  the  few  years  of  his  en- 
gagement with  that  people,  no  less  than  fifteen  distinguished 
singers  had  been  "  bought  off"  from  his  choir.     On  these  he 


''BOUGHT  OFF."  221 

had  bestowed  an  untold  amount  of  gratuitous  labor,  and  yet 
the  music  was  not  well  sustained.  Very  wisely,  therefore,  he 
sent  in  his  resignation,  and  went  to  a  more  promising  field  of 
labor. 

Other  teachers  in  that  city  had  similar  cause  of  complaint. 
Voluntary  choirs  would  be  drawn  upon  with  as  little  ceremony 
as  articles  would  be  purchased  at  an  auction.  Was  this  right 
and  honorable  ?  If  not,  who  were  most  in  fault,  the  purchasers, 
the  things  purchased,  or  the  congregations  which  were  generally 
too  indifferent  to  rectify  the  abuse  ? 


AAAlX. 

THE  MISTAKE  OF  AN  EXCELLENT  LEADER. 

"  Knowledge  is  power." 

Somewhere  in  the  far-west — an  appellation  not  very  distinct- 
ive^— there  was  a  small  village  which  ultimately  became  a  large 
city.  The  first  evangelical  church  in  that  village  was  well  sus- 
tained from  the  period  of  its  formation.  The  music,  for  a  time, 
was  ill-ordered  and  deficient.  But  a  man  of  influence,  greatly 
beloved  for  his  excellence  of  character  and  disposition,  volun- 
teered his  services  as  instructor  and  leader.  The  labor  he  be- 
stowed, the  criticisms  he  made,  and  the  piety  he  manifested, 
soon  put  the  music  upon  a  good  basis.  The  choir  were  deeply 
interested.  The  congregation  were  highly  pleased.  There 
was  not  a  dissenting  voice.  Mr.  Heman  was  just  the  man  they 
needed.  He  knew  precisely  what  ought  to  be  done,  and  might 
have  everything  his  own  way.  His  schools  and  rehearsals  were 
well  conducted.  The  music,  while  perfectly  chaste,  was  admir- 
ably adjusted  to  the  condition  and  the  wants  of  the  people. 
They  delighted  in  it  as  a  pleasing  auxiliary  of  their  devotions. 
Perhaps  few  examples  have  occurred  in  modern  times,  where 
exercises  in  praise  were  better  ordered  or  more  fully  appre- 
ciated. 

But  the  people  acquired  no  wisdom  in  musical  matters  from 
this  delightful  experience.    They  attributed  everything  to  the 


MISTAKE  OP  AN  EXCELLENT  LEADER.  223 

character  and  spirit  of  the  man ;  and  saw  no  particular  con- 
nection between  the  system  of  operations  and  the  results.  No 
difficulties  had  occurred  in  this  department  of  public  worship, 
and  why  should  any  be  apprehended  for  the  future  ?  Mr.  He- 
man  was  unwearied  in  his  exertions.  He  needed  no  counsellors. 
He  was  affluent  and  liberal.  He  was  a  man  of  leisure  ;  and 
he  had  too  much  regard  for  this  interest  to  allow  it  to  suffer. 

Everything  passed  pleasantly  on  for  years,  till  at  length  his 
pecuniary  affairs  became  so  deranged  as  to  require  the  closest 
attention  to  business.  Rehearsals  in  consequence  became  un- 
frequent.  The,  music  began  to  depreciate,  and  his  own  voice 
through  disease  was  beginning  to  decay.  The  latter  circum- 
stance was  more  evident  to  others  than  to  himself.  Others 
improving  in  musical  susceptibility,  began  to  be  somewhat  dis- 
quieted. An  organ  was  placed  in  the  church.  Increasing  prac- 
tise was  needful  to  bring  the  voices  under  due  subjection.  This 
practise  was  greatly  beneficial  in  other  respects  ;  and  the  sing- 
ing revived,  till  once  more  for  several  years  it  gave  entire  satis- 
faction. The  difficulties  in  directing  the  music  were  increased 
by  the  presence  of  the  organ  ;  but  the  leader  was  fully  equal  to 
the  task.  He  manifested  no  embarrassment,  and  everything 
was  so  entirely  confided  to  his  direction  that  the  difficulties  of 
his  position  were  not  at  all  apprehended.  To  lead  well,  in 
such  circumstances,  requires  knowledge  and  practical  experi- 
ence. Yet  Mr.  Heman  gave  directions  with  such  apparent 
ease,  that  the  intrinsic  difficulties  of  his  position  were  not  sus- 
pected. The  organist  saw  it  his  interest  to  be  entirely  subser- 
vient. The  singers  loved  him  and  were  easily  guided  in  all 
things  by  his  example.  The  love  of  social  enjoyment  and  ar- 
tistic display  was  therefore  held  in  strict  subserviency  to  the  in- 
terests of  devotion. 

Unfortunately  for  thi9  interest,  however,  the  health  of  Mr. 


224  MISTAKE  OF  AN  EXCELLENT  LEADER. 

Heman  began  to  decline.  He  sickened  and  was  brought  near 
the  borders  of  the  grave  Little  hopes,  for  a  time,  were  enter- 
tained of  his  recovery.  More  than  a  year  elapsed  before  he 
was  again  seen  in  the  worshipping  assembly.  His  constitution 
was  enfeebled,  his  voice  had  decayed ;  and,  unable  to  take 
charge  of  the  music,  he  took  his  seat  in  the  body  of  the  church. 
But  how  great  was  his  surprise  1  An  entire  revolution  had 
been  effected  in  the  music.  As  not  one  of  the  brethren  of  the 
church  had  acquired  sufficient  knowledge  in  music  to  assume 
the  direction,  it  devolved  on  a  young  gentleman  of  some 
standing,  who  was  a  mere  amateur,  possessed  of  a  worldly 
spirit,  and  a  decided  taste  for  musical  sentimentality  and  artistic 
display.  He  was  surrounded  with  performers  of  a  similar 
stamp — and  the  organist  was  now  in  his  element,  showing  off 
his  powers  of  execution.  The  members  of  the  former  choir 
had  left  in  disgust,  and  the  whole  interest  had  become  secular- 
ized. Mr.  Heman,  in  his  feebleness,  could  effect  nothing  in  the 
way  of  improvement.  If  he  were  to  propose  a  change  there 
was  no  one  who  could  give  direction.  Influence,  skill,  and  in- 
telligence were  now  on  the  side  of  the  amateurs.  He  regretted 
exceedingly  that,  when  he  had  the  sole  direction  he  had  not 
trained  others  to  succeed  him.  Now  it  was  all  too  late.  His 
only  remedy  was  patient  endurance  till  the  church  should  learn 
wisdom  by  experience.  Troubles  have  since  arisen.  Many 
changes  have  taken  place.  But  there  is  still  a  dearth  of  informa- 
tion, and  many  years  may  yet  elapse  before  the  right  influences 
will  be  restored.  If  we  would  be  permanently  useful  in  this 
department  of  Christian  effort,  we  must  be  careful  to  diffuse 
seasonable  intelligence  and  information. 


XL. 

A  BRIGHT  EXAMPLE. 

"Notes  inspiring  holy  love, 

Notes  that  wing  their  heavenly  wayi, 
To  join  the  choirs  above.'' 

Darn  eh. 

It  is  easier  to  speak  of  failures  than  of  successes,  in  the  man- 
agement of  choirs.  In  the  one  case  there  is  variety  of  incident ; 
in  the  other  it  may  happen  that  nothing  very  remarkable  has 
occurred.  The  observation  applies  to  religious  transactions  in 
general.  History  seizes  upon  the  troubles,  and  disputes,  and 
dissensions,  and  schisms,  which  from  time  to  time  have  agitated 
the  church ;  and  not  upon  the  quiet  teachings,  the  faithful  efforts, 
the  calm  discussions,  and  united  affections  and  sympathies  which 
have  been  witnessed ;  for  the  latter  are  not  so  fruitful  of  inter- 
esting details  as  the  former,  nor  are  they  so  readily  understood 
or  appreciated.  The  same  remark  is  applicable  to  biography ; 
for  it  often  occurs  that  the  lives  of  some  of  the  most  eminently 
pious  men  have  furnished  the  fewest  materials  for  a  readable 
volume. 

It  will  not  be  thought  wonderful,  then,  that  so  few  of  our 
present  sketches  have  delineated  scenes  of  quietude  or  success- 
ful effort ;  they  are  not  easily  described.  It  must  not,  however, 
be  inferred  that  there  has  been  nothing  but  mismanagement,  or 
that  there  is  any  natural  tendency  in  choirs  to  promote  abuses. 

10* 


226  A  BRIGHT  EXAMPLE. 

There  have  been  many  choirs  whose  history  is  unblemished  and 
delightf.il.     We  will  fix  upon  one  as  a  fair  specimen. 

In  the  south-eastern  district  of  the  State  of  K lies  the  fine 

inland  town  of  () .     The  pastor  of  the  first  church  in  this 

place,  himself  a  tolerable  singer  and  a  lover  of  good  psalmody, 
determined  from  his  first  settlement  in  the  ministry,  to  look 
well  to  the  interests  of  church  music.  He  was  a  man  of  good 
mind,  pleasant  manners,  and  devoted  piety.  He  had  little 
knowledge  of  the  shoals  and  quick-sands  which  occasion  so 
many  musical  disasters ;  but  by  good  sense  and  careful  effort 
under  the  Divine  blessing,  he  was  enabled  to  stear  clear  of 
them. 

He  was  guided  by  sound  principles.  He  took  biblical  views 
of  the  office  of  praise.  He  illustrated  them  in  his  teachings 
from  the  desk,  and  lent  his  assistance  and  counsel  in  reducing 
them  to  practice.  Here  lay  the  secret  of  his  success.  All  his 
practical  operations  were  straightforward,  judicious,  and  trans- 
parent. The  simplest  child  could  understand  them.  What 
was  more  natural,  for  instance,  than  that  he  should  have  pre- 
ferred a  Christian  teacher  to  one  who  was  destitute  of  piety  ? 
And  how  naturally,  while  in  the  practice-room,  would  he  make 
discriminations  between  rehearsing  and  worshipping,  artistic  en- 
joyment and  pious  feeling,  and  between  apparent  and  real  de- 
votion 1  These  distinctions  might  not  have  occurred  to  him  in 
the  desk,  but  in  the  practice-room  they  would  be  familiarized 
by  personal  observation.  He  was  governed  by  principle  rather 
than  by  precedent.  "  Artistic  excellences,"  he  said,  "  were  ne- 
cessarily of  a  secondary  nature.  They  might  have  their  appro- 
priate place ;  but  the  great  object  was  to  secure  the  right  treat- 
ment of  the  consecrated  language  of  pious  emotion.  This,  so 
full  of  significancy,  so  pre-eminently  spiritual,  should  have  a 
free,  heart-felt  utterance  in  praise,  just  as  in  prayer ;  and  this 


A  BRIGHT  EXAMPLE.  227 

would  not  be  achieved,  unless  there  was  a  practical  recognition 
of  this  principle  in  the  hours  of  rehearsal."  Here,  again,  the 
suggestion  was  a  perfectly  natural  one.  He  could  not  see  why 
a  devotional  frame  of  mind  was  not  as  necessary  to  prepare  us 
for  praise  as  for  prayer  or  preaching ;  or  why  musical  drilling, 
however  important  in  itself,  should  form  a  substitute  for  such 
preparation.  Rehearsals,  therefore,  were  conducted  in  accord- 
ance with  religious  order ;  and  the  occasional  exercise  of  prayer 
and  devotional  singing  in  those  seasons  of  practice,  had  a  delight- 
ful tendency.  The  practice-room  was  never  a  scene  of  hurried 
labor  or  perplexity,  or  ill-timed  sociability.  A  sweet  and  gentle 
influence  seemed  to  pervade  all  the  exercises.  They  were  at- 
tended with  much  enjoyment ;  for  never  does  sacred  music  ap- 
pear so  interesting  as  when  the  heart  is  kept  in  tune  by  the 
contemplation  of  spiritual  objects.  The  exercises  were  suffi- 
ciently varied  and  discriminating.  There  was  no  lack  of  ardor. 
There  were  diligence  and  punctuality.  But  the  efforts  were  the 
natural  offspring  of  Christian  principle.  Taste  was  not  neglect- 
ed. Science  was  not  undervalued ;  for  there  was  careful,  judi- 
cious, and  critical  drilling.  Yet  everything  occurred  in  its  right 
relations ;  because  intelligent  experience  lent  its  unfailing  guid- 
ance in  the  operations. 

But  how  shall  we  describe  the  happy  influences  of  such  a 
choir,  upon  the  devotions  of  the  assembly  1  They  did  not  pro- 
duce raptures.  They  did  not  act  upon  the  cumbrous  heels  of  a 
concert-loving  auditory.  Nor  had  they  any  soporific  tendency. 
They  were  not  playing  upon  the  fancy,  nor  dealing  with  the 
imagination,  but  making  their  way  directly  to  the  heart  of 
Christian  susceptibility.  They  were  attended  at  once  with 
power,  and  with  deep  and  tender  solemnity.  The  tunes  were 
such  as  could  be  appreciated  by  the  congregation.  The  assem- 
bly often  joined  with  the  choir  in  full  chorus,  and  felt  that  praise 


228  A  BRIGHT  EXAMPLE. 

was  the  sweetest  and  liveliest  emblem  of  the  harmonious  activ- 
ities of  the  sanctuary  above. 

It  is  easy  to  secure  right  influences  in  the  exercises  of  praise, 
when  artistic  preparations  have  been  guided  by  Christian  prin- 
ciple. 


CONCLUSION. 

From  the  preceding  sketches,  it  appears  obvious,  that,  in  the 
multitude  of  cases,  there  is  no  real  necessity  for  trouble  or  em- 
barrassment in  sustaining  the  office  of  praise.  We  are  not 
called  upon  to  depreciate  musical  excellence,  nor  to  take  the  ex- 
treme position  of  those  who  deify  art.  We  are  under  no  ne- 
cessity of  countenancing  pernicious  habits  or  prejudices,  or  of 
consulting  discordant  notions  or  conflicting  diversities  in  taste. 
We  are  under  no  necessity  of  leaving  this  precious  interest  a 
prey  to  ill -management  or  untoward  motives  or  propensities. 
There  is  no  need  of  the  decay  of  voices,  or  the  degeneracy  of 
practical  skill ;  for  talent  and  taste  lie  fairly  within  the  prov- 
ince of  cultivation.  There  is  no  need  of  tolerating  abuses,  as 
if  they  were  incurable.  There  is  no  need  of  employing  bad 
organists,  inefficient  choristers,  or  immoral  or  incompetent 
teachers.  There  is  no  need  of  encouraging  ignorance,  or  stupid- 
ity, or  frivolity,  either  among  singers  or  auditors.  There  is  no 
need  of  encouraging  mal-adaptations  of  music,  or  inappropriate 
sentimentalities.  Nor  yet  is  there  any  need  of  disaffection, 
disunion,  or  unhallowed  ambition,  or  lawless  contention.  For 
all  these  seeming  incurables,  there  is  a  sure  remedy  ;  and  one 
which  in  most  cases  may  be  easily  and  effectively  applied.  We 
have  only  to  take  the  Bible  in  hand,  which  establishes  the  office 
of  praise,  and  to  follow  its  teachings  implicitly,  without  yield- 
ing to  the  unauthorized  opinions  of  men. 


230  CONCLUSION. 

The  claims  of  art  have,  on  the  one  hand,  been  undervalued 
and  despised,  and,  on  the  other,  exalted  to  an  injurious  supe- 
riority over  the  interests  of  spiritual  worship.  Either  extreme 
is  wrong.  These  claims  should  be  rightly  adjusted.  Let  sound 
intelligence  and  enlightened  Christian  experience  be  our  guides 
in  this  matter,  and  there  need  be  nothing  to  fear. 

All  the  peculiar  difficulties  which  have  arisen  may  be  traced 
to  one  leading  cause.  The  office  of  praise  connects  aesthetic 
considerations  with  devotional  sentiments  and  purposes.  We 
incline  to  seize  upon  the  former  for  the  purpose  of  enjoyment, 
and  treat  the  latter  as  auxiliary  concomitants.  Let  us  reverse 
this  order  of  things.  Let  us  give  devotional  considerations  the 
highest  place.  Let  us,  as  Christians,  assume  all  the  practical 
responsibilities  which  the  Bible  imposes  upon  us,  and  we  will 
find  abundant  cause  for  unanimity  and  self-denying,  conscientious 
efforts.  Such  efforts  are  sure  to  meet  the  approbation  of  Heav- 
en, and  afford  ultimately  the  richest  spiritual  enjoyment. 

The  office  of  praise  is  essentially  important.  It  cannot  be 
desecrated,  or  even  neglected,  without  serious  injury  to  the 
cause  of  Christ.  Christians  should  think  of  this  and  lay  it  to 
heart.  This  subject  is  rendered  the  more  important  at  the  pres- 
ent day,  by  the  increasing  attention  which  is  paid  to  the  art  in 
our  country.  New  habits  and  associations  are  being  formed, 
which  should  not  be  left  to  the  uncertain  guidance  of  popular 
opinion.  The  subject  must  be  investigated  and  acted  upon. 
Taste,  as  well  as  religion,  requires  that  it  should  be  better  un- 
derstood and  appreciated. 

The  present  condition  of  psalmody  in  our  country  is  one 
which  is  full  of  interest.  There  is  much  in  it  to  encourage 
hope,  and  much  to  awaken  solicitude.  The  question  whether 
the  praises  of  Zion  shall  become  as  sounding  brass  or  a  tinkling 
symbol,  or  whether  they  shall  be  to  the  honor  and  glory  of 


CONCLUSION.  231 

Zion's  King,  is  truly  a  momentous  one.  How  shall  this  ques- 
tion be  decided  ?  It  is  not  a  question  of  art.  Churches  and 
pastors  must  take  part  in  this  decision,  or  certainly  it  will  go 
against  them  by  default.  Amateurs  and  artists  are  putting 
forth  unwonted  efforts.  New  foundations  are  being  laid.  Chris- 
tians and  Christian  ministers  should  inform  themselves  and 
awake  to  effort. 


